André Fernandes (born in 1982 in Portugal) is a composer, producer and musician with mainstream projects developed for Film, TV, Advertising and the Music Industry. Fernandes has a university degree on Multimedia Design and was awarded with a scholarship by Dolby, to attend School of Sound, in London. At age five he started his music and composition studies in the Classical Academy. Organic identity and experimentation are the substance.
|2016||European Health Forum Gastein|
|2015||FWU Institut für Film|
|* Official selection @ Festival International du Cinema et la Mer (MOR)
* Official selection @ Lisbon International Film Festival (PT)
* Best Movie @ 48 Hour Film Project (PT)
|Take Away (2016)|
* Best Movie @ 48 Hour Film Project (PT)
* Officiazl selection @ Shortcutz Lisbon (PT)
* Official selection @ Filmapalooza (USA)
|* Finalist @ Project Green Light (USA)|
|A Entrevista (2010)|
|* Nominated for best film @ Zon Creativity Awards (PT)|
|Funeral in the Rain (2010)|
* best Movie @ Festival Caminhos do Cinema Português (PT)
* Nominated for best OST @ Festival Caminhos do Cinema Português (PT)
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WaveFactory.org is the home of Portuguese composer/ musician André Fernandes.
Working from recording facilities both in Europe and the US, the artist is open to new Original Soundtrack and Sound Design projects.
|› Parts Unknown | US 2017, Directed by Richard Chandler|
|#synthwave #retro arcade|
|› Untitled Project|
|› Last Call | US 2015, Directed by Tony Aaron II|
|#dreamy orchestral #indie|
|› Pond Scum | US/ AUS 2016, Directed by Mark Savage|
|#classical horror #analogue|
|› Thug Alley (short) | US 2016, Directed by Scott McGinnis|
|#70s psy funk #analogue|
|› Gaki: the Hungry Ghost | US 2016, Directed by Jim Towns|
|#horror #ethnic japanese|
|› Heat Wave (short) | US 2014, Directed by Russ Russo|
|#suspense #break beat|
|› Crackerjack | US 2015 TV Series, Directed by Tony Aaron II|
|#mystery #dream pop|
|› Insomniac (short) | US 2016, Directed by Mathew Fisher|
|#folk rock #psychedelic|
|› Endings | US 2015, Directed by Robert Boris|
|#psychological terror #darkwave|
|› Limbo (Project Greenlight short) | US 2014, Directed by Tony Aaron II|
|#funky #dubstep drop|
|› Youth | US 2017 TV Series, Directed by Jack Stanis|
|› Funeral in the Rain | PT 2010, Directed by Telmo Martins|
|...\\||BEST OF 2015 (Hightlight Video reel)|
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|By being a South-European child born on the early 80s, I was exposed, since tender age, both to the grandiosity and majesty of Classical and Orchestral study and to the Soundtrack lo-fi wonders of the VHS rental stores. As an experimentalist and curious by heart, I kept my love for Music and Cinema as an intercepted experience and always found inequity and passion both for the classical Score as for the more alternative and deviant pieces of Music and Sound Design that smashed conceptual and creative barriers to the ground.
To study the History of Cinema and Film Score is crucial to understand the fracturing moments of the industry and to contextualize the vision of the composers that set the trails to be followed and explored. I am a vibrant admirer of the pioneers on creating Original pieces for the big screen and I love the Music written by the first Central European classical composers that crossed the Atlantic, in the late 20s, heading to Hollywood to change the industry and give a new dimension to film; Max Steiner (King Kong, Gone With the Wind, Casablanca) and Eric Wolfgang Korngold (The Adventures of Robin Hood) are still among the most inventive and cerebral composers of all time and their Music ages magnificently, as well as its cult and influential status. As decades passed on Hollywood, I always loved to listen back and search for the work of composers that stepped away from the Classical route and scored movies within completely new Musical and conceptual universes, inserting new layers of human emotion to the canvas. For exploring new soundscapes and forms of building tension, unsettlement and imminent sexuality (developing it from the classical passion element performed by the warm orchestras) I love the 007 Musical universe, first architected by Monty Norman and John Barry. On that same morphing sphere, turning Jazz and other Popular emotional styles such as Disco/ Funk or Acid Rock into Cinematic languages was crucial to add contemporary diversity and a more evolving organic dimension to Film so Bernard Herrmann (Taxi Driver, Citizen Kane, Psycho) and J. J. Johnson (Shaft) are major influences for me, along with the ground-breaking role of movies such as Saturday Night Fever or even the obscure Brazilian cult classic The Devil Queen (1974), that insanely fuzzed acid and trippy Jazz Rock with the swing and sensual call of the Samba and other local rhythms, giving the flick a very unique and ethnic personality (in the same formal way Emir Kusturica, later, gave its dark crime comedies a very strong fingerprint, by the brilliant use of local musical elements). All ethnic/ World expressionism was first revealed and mastered, obviously, by the golden hand of Ennio Morricone (Il Buono Il Brutto Il Cativo, The Untouchables) and his talent for simple and (yet) unusual tonal choices and affirmative accentuations. Italian classical composer Nino Rota (Satyricon, La Dolce Vita) also built a very strong legacy and worked with influent and innovative Directors such as Felini or Coppola. On another Historical approach – and leaving the realm of Cinema – Italian XIX century Futurist composer Luigi Russolo played a decisive role on experimenting with Noise and establishing it as a valid palette in Music, a step that slowly was embraced by the 7th art.
Since tender age I was always very interested on audio electronics, digital sound and proto computer music compostion (Sound Club for the MS DOS, on the pre Windows era on PC, was my favorite tool, as a kid, mixing tape recordings with samplers and synths) so, as I got older, I investigated further on the composers and engineers that brought that radically new element to the Cinematic equation and I am still in love with the work of Louis and Bebe Barron. They engineered a radical new sound that sent shock waves, in 1956, by producing the first fully electronic mainstream Soundtrack, for the sci-fi classic Forbidden Planet. After this milestone, the following decades blossomed to the amazing work of Karlheinz Stockhausen, Jerry Goldsmith (Planet of the Apes, Chinatown, Alien), Rachel Elkind and Wendy Carlos (The Shining, A Clockwork Orange) or even the avant-garde incursions of David Raksin (e. g. Scorpio Rising).
Transposing and emanating the massive and complex emotional stream of orchestral Music through an electronical medium was first proven to be a consistent reality by Greek composer Vangelis and what he achieved with his 1981's Chariots of Fire OST turned on to be a new vanguard path that made possible the birth of a new hybrid language later explored by amazing artists such as Max Ritcher (Disconnect) or Clint Mansell (Requiem for a Dream, Moon, Black Swan). On our contemporary multi-angled scene I follow and like the work of composers that write meaningful material and have no reluctance on fusing or inventing surprising and breath-taking ways to express their ideas. On this immensity of multi-platforms and infinite possibilities I really enjoy the work of Angelo Badalamenti (Twin Peaks, The Beach, Mulholand Dr.), Thomas Bangalter (Irréversible, Enter the Void), Cliff Martinez (Only God Forgives, Drive), Yeong-Wook Jo (Oldboy, I'm a Cyborg but that's OK), Jon Brion (Magnolia, Eternal Sunshine of the Spotless Mind), Alejandro Amenábar (Mar Adentro, The Others), Trent Reznor (The Social Network, Gone Girl), Mica Levi (Under The Skin), Carter Burwell (Fargo, Adaptation.), Masakatsu Takagi (Wolf Children), Jean-Michel Bernard (The Science of Sleep, The Grand Budapest Hotel), Gustavo Santaolalla (Amores Perros, Babel), Nathan Johnson (Looper, Brick), Philip Glass (Secret Window, The Truman Show), Yann Tiersen (Amélie), Alberto Iglesias (The Constant Gardner, Hable Con Ella) Dust Brothers (Fight Club), Dan Romer (Beasts of the Southern Wild), Alexandre Desplat (Argo, De Battre Mon Coeur S'est Arręté), Jóhann Jóhannsson (The Theory of Everything, Sicario) and the late Bernardo Sasseti.
As mentioned before, I grew up on the 80s/ early 90s and part of my Cinematic imaginarium is critically attached to marginal horror flicks that were aired on Portuguese TV, on late time, or to VHS titles I could find on my little hometown. In that sense, composers such as John Carpenter (Halloween), Claudio Simonetti (Suspiria, Profondo Rosso), Harry Manfredini (Friday the 13th), Goblin (Dawn of the Dead), Pino Donaggio (Carrie), Alan Howarth (Army of Darkness, Total Recall), Brian May (Mad Max), Don Peake (The Hills Have Eyes, Knight Rider), Herman Kopp (Nekromantik) or Tommy Tedesco will always have a special little corner, on my mind.
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