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André Ferreira 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.


2017 Greenpeace
2016 European Health
  Forum Gastein
2015 Allianz
2015 Last Bikes
2015 FWU Institut für Film
2015 Tanzania Embassy
2012 Lexus
2009 Optimus
2009 Caixa Geral
2009 Continente
2009 Intermarche



Rum & Hot Peppers (2018)
* Recognition award @ Accolade Global Film Competition (USA)
* Official selection @ Miami Independent Film Festival (USA)
* Official selection @ Spooky Empire (USA)
* Official selection @ The Optical Theater Horror Film Festival (IT)
* Official selection @ Oniros Film Awards (IT)
* Official selection @ The IndieFEST Film Awards (USA)
* Official selection @ Los Angeles CineFest (USA)
* Official selection @ Independent Horror Movie Awards (USA)
* Official selection @ Diabolical Horror Film Festival
Forever Manchester (2018)
* Official selection @ KinoFilm Manchester International Short Film Festival (UK)
Insomniac (2017)
* Best Soundtrack Winner @ Los Angeles Film Awards (USA)
* Best Soundtrack nomination @ Global Film Festival Awards (USA)
* Best Soundtrack selection @ WINDS International Film Festival (USA)
* Best Soundtrack selection @ Oniros Film Awards (ITA)
* Best Movie selection @ Oniros Film Awards (ITA)
* Best Soundtrack semi-finalist @ Los Angeles CineFest (USA)
* Best Soundtrack nomination @ Fake Flesh Film Fest (CA)
* Best Movie nomination @ Fake Flesh Film Fest (CA)
* Best Soundtrack nomination @ Barcelona Planet Film Festival (ES)
* Best Movie semi-finalist @ San Mauro Film Festival (ITA)
* Gold Award for the Music @ L. A. Neo Noir Film Festival (USA)
* Official selection @ Independent Horror Movie Awards (USA)
* Official selection @ Top Indie Film Awards (USA)
Aurum (2016)
* Official selection @ IndieWise Festival (USA)
* 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)

Limbo (2014)
* Finalist @ Project Green Light (USA)
A Entrevista (2010)
* Nominated for best film @ Zon Creativity Awards (PT)
Funeral in the Rain (2010)

* Best Soundtrack nomination @ Festival Caminhos do Cinema Português (PT)

* Best Movie @ Festival Caminhos do Cinema Português (PT)
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WaveFactory.org is the home of the Portuguese composer/ musician André Ferreira Fernandes, whose Soundtracks for film were nominated and awarded in prestigious festivals such as Los Angeles Film Awards, Barcelona Planet or Caminhos do Cinema Português (among others).


The artist is open to new Original Soundtrack and Sound Design projects. Meetings can be arranged in Europe and in the United States.


  Insomniac (short) | US 2017, Directed by Mathew Fisher
Best Score WINNER @ Los Angeles Film Awards
GOLD AWARD for the Music @ Los Angeles Neo Noir Film Fest
  #thriller #darkwave
  Rum & Hot Peppers | US 2018, Directed by Tony Schweikle
  #horror #tribal #mondo #supernatural
  Fawn | US 2018, Directed by Mixhael Mckiddy
  #horror #thriller
  Untitled Project
  #orchestral #emotional
  Pond Scum | US/ AUS 2018, Directed by Mark Savage
  #classical horror #analogue
  Untitled Project
  #dreamy orchestral #indie
  Parts Unknown | US 2018, Directed by Richard Chandler
  #synthwave #retro arcade
  Thug Alley (short) | US 2018, Directed by Scott McGinnis
  #70s psy funk #analogue
  Untitled Project
  #mystery #dream pop
  Forever Manchester | UK 2018, Directed by Iain Cash
  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
  Untitled Project
  #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
  #dramatic #contemporary
  Funeral in the Rain | PT 2010, Directed by Telmo Martins
  #dramatic #indie
NOMINATION for best Soundtrack @ Caminhos do Cinema Português
...\\ BEST OF 2015 (Hightlight Video reel)
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By being a South-European child born in 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 it 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 in 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 towards 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 in 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 away 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 band styles such as Disco/ Funk or Acid Rock into Cinematic languages, it was crucial to add contemporary diversity and a more evolving organic dimension to Film so Alex North (A Streetcar Named Desire), 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 unusual 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 aside – 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 in audio electronics, digital sound and proto computer music compostion (Sound Club for the MS DOS, in the pre Windows era on PC, was my favorite tool, as a kid, mixing MC tape recordings with samplers and synths) so, as I got older, I investigated further about 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 creative milestone, the following decades blossomed to the amazing "out of the box" work of Karlheinz Stockhausen, Jerry Goldsmith (Planet of the Apes, Chinatown, Alien), Rachel Elkind and Wendy Carlos (The Shining, A Clockwork Orange), Danny Elfman (Big Fish, Batman, Beetlejuice), Thomas Newman (American Beauty) 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 out 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). In our contemporary multi-angled scene I follow and like the work of composers that write meaningful material and have no reluctance in 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), Marco Beltrami (The Homesman, The Gunman), 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), Junkie XL (Mad Max), 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 in the 80s/ early 90s and part of my Cinematic imaginarium is critically attached to marginal horror flicks that were aired on Portuguese TV, during late time, or to VHS titles I could find in 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, in my mind.
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