Sons of Granville

a soundtrack for life

A small team with a big sound and an endless well of creativity. 

Festival Composing: Artists for Conservation

Building on 2016's slideshow composition for the Artists for Conservation organization we decided to tackle this year's slideshow commission by inviting Japanese shakuhachi master, Alcvin Ryuzen Ramos to the studio.

Alcvin Ryuzen Ramos performing Shakuhachi

Alcvin Ryuzen Ramos performing Shakuhachi

The 17 minute piece comprised of earthy strings, bowed guitar, ukuleles and bass violas (our latest color obsession), before our third day of production in which we experienced Alcvin's exquisite performance, who drew from distinctive members of the shakuhachi family, an impressive range of uniquely tuned ethnic instruments. Within quick time a wild and remote soundscape of bird calls, roaming animals, and crashing seas evolved before us.

This past October, Thomas and Alcvin performed the main theme from this composition at the BlueShore Financial Theatre for the Performing Arts at Capilano University for the pre-show of the AFC annual festival. To listen to the full recording and watch AFC's 2017 catalogue of inspiring artwork, go here>


Recording with Borealis String Quartet

We assembled today at one of the largest and most beautiful churches in all of Western Canada to record "Tango", Thomas' latest composition. He had a clear vision for this piece, including who we wanted to perform it.

Enter: Borealis String Quartet.

Thomas shares his creative vision with BSQ.

Thomas shares his creative vision with BSQ.

Comprised of two fiddles, a viola and a cello, BSQ mesmerized us for 2 hours while we captured numerous variations of the piece, which clocks in just under 4 minutes. Videographer Darko Sikman joined the session for some behind-the-scenes footage to support the upcoming music video.

On the engineering side of things, we stuck to a common formula for string quartets: a stereo pair of microphones about 5 feet in front of the ensemble and an overhead condenser right on top of all the action. Considering the size and echo response of the church, we couldn't resist placing a condenser microphone up in the rafters about 90 feet away.

Church BSQ.jpg

Stay tuned for the "Tango" music video!

Enter the World of Woodwinds

As soon as Alvin arrived at the studio, he unpacked all of his flutes and laid them out for us to examine, then obliged our curiosity to audition the different sounds and perhaps spark our creativity. With names like the fue, the shakuhachi and the tang-khan, we hardly knew what to expect from these beautiful instruments.

We first opted for the mid-octave shakuhachi. From the moment he began to play his trademark style of expressive flourishes, it animated and humanized the steady orchestral drone. We had to restrain ourselves from using it everywhere because the sound was so instantly gratifying.

Nature Music session.jpeg

One of the session highlights would have to be the extreme "animal sounds" that Alvin accomplished on the fue, the highest-pitched instrument in his arsenal.

We are thrilled to share this music with everyone- but it's not time just yet!

Stay tuned...

Covering the Classics

While we've been busy composing and recording film scores, we spared some time to lay down a couple of historic gems: "Ave Maria" and "If I Ain't Got You".

We performed the former as a part of beautiful August wedding ceremony in Pemberton. The latter, we will be playing for a wedding this September at UBC Botanical Gardens.

Canada's 150th Anniversary: A Musical Premiere

Celebrating Canada’s 150th anniversary, Thomas was commissioned to write a new concert piece for the Post Modern Camerata. Entitled ‘Pandora’s Clock’, the piece was premiered alongside three other Canadian composition at the Orpheum Annex. The PMCco-director Alexandra Hill fashioned a series of behind-the-scenes episodes, including this one about the new classical piece >

On Sunday the 28th, we join the Canadian Aboriginal AIDS Network for the Rio Theatre premiere of their second documentary ‘Promising Practices in Timiskaming First Nation,’ the latest offering in a  series of documentaries to promote awareness around health issues that affect the country’s interior First Nation’s community. The premiere kicks off at 12:30pm with live performances from myself and the Medicine Stones. For more info, go here >

'Ten Years': A New Documentary

Our last project of 2016 was to produce a short score for 'Ten Years' by Robyn Thomas. The film follows the difficult path from fear and shame to healing and forgiveness by a victim of rape. We are proud to support Robyn's sincere film of a brave testimony and we look forward to sharing the film once it's completed its festival circuit by the end of this year. 

To listen, go to tracks 'Inviolate' and 'Convalescence' on our 'Music' page. 

Big Foot Country

Last week, Sector 5 released the official trailer for their new action-horror flick. 'Big Foot Country' now sets it's sights on several prestigious festivals across the globe. 

This is the third feature-length film in 5 months that we have scored for filmmaker Jason Mills. The other films, "Mermaid Island" and "Alien Psychosis", are both slated for release in 2017.

'Promising Practices'

At the beginning of the year we sat down with director of CAAN, Merv Thomas and 'Promising Practices' co-director Jason Lawrence to discuss the film’s musical treatment which included Jason's new song "No Shame.’ Production for 'No Shame' drew upon a diverse group of musicians to tell its story: a plea to debunk the stigmatization of HIV/AIDS and to unify communities living in the Sturgeon Lake and Ahtahkakoop First Nations territories. We enlisted VSO cellist Ariel Barnes to play off of my viola, creating an even more authentic acoustical edge. We also bolstered Jarrett's drum performance with percussionist Chris Couto on djembe.

Luke Kim on cello provided important string parts for the 'Promising Practices' score. 

Luke Kim on cello provided important string parts for the 'Promising Practices' score. 

By mid-July we had finished the song and were underway with the score itself. At every stage we sought to honour the film’s dynamic and emotional theme of recovery and resilience. The music drew heavily upon that message, something Merv described in his recent interview with the Saskatoon Phoenix Star as ‘positive and uplifting.’ Learn more here>