At first, I thought I was going to do something very personal for my Final Major Project, such as a bedroom or indie pop album inspired by the lyrics I had written over the past few years. I had a concept in mind called Unwritten, where I’d sing on the tracks and possibly collaborate with classmates or friends I had used to sing with from back home. It felt like the most natural plan at the time, and the context made it personal, emotional, and easy to connect with.
But then I started seriously thinking about what I want to do after university and studying. As much as I love writing lyrics and performing, I realised I don’t see myself pursuing life as an artist or front-facing performer. I’ve always been more interested in the behind-the-scenes production or branding. So while the idea of Unwritten made sense emotionally, it didn’t align with where I’m trying to go professionally.
That thought process made me re-evaluate the kind of project I actually want to showcase to someone like a future employer. I kept going back to the kind of work that blends sound and narrative, and I thought of things I could work towards in the future like title sequences, sonic branding, and basically audio identity. Because of the shows I watch, I always talk about how a show’s title sequence practically creates an identity for the show. With that being said, Nicholas Britell (Succession) and Cristobal Tapia de Veer (The White Lotus) are amongst a line of composers who do the job terrifically. That suddenly became the real inspiration and primary foundation of my project.
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