Following the mid-90’s boom of “electronica” in North America, you couldn’t go a day without hearing electronic music in some capacity. It was everywhere. In TV adverts, in video games, at the cinema – everywhere. As most things do in the mainstream, it eventually grew unfashionable and its presence diminished, but there’s a Bristol-based upstart looking to “re-affirm the pivotal role of experimental electronic music in the TV, Film & Gaming industries.”
After featuring a mix of ambient video game soundtracks on Tuesday, it seemed fitting that we would help break the news about the launch of Syncsmith, the “electronic “SYNC” agency” already boasting an impressive array of talent under its banner. By “removing ambiguity on master, publishing rights” for both released and unreleased music, the plan is to provide a streamlined service that simplifies the licensing process for both parties. There’s even a contact form where you can “submit a brief”, allowing prospective clients to outline their intentions for the music, any specific moods they are looking for and reference points to current on screen content of a similar vein.
Essentially playing matchmaker, the Syncsmith service will pair filmakers and the like with electronic innovators, including Beatrice Dillon, Karen Gwyer and Hieroglyphic Being. Houndstooth, Versatile Records, Opal Tapes, Shipwrec and Nous Disques are just a few of the labels already lending music to the cause, and listening through the material available, it begs the question why nobody had thought of doing this before. “Cinematic”, “emotive” and “immersive” are just three of the words that spring to mind, in turn raising the point that there’s an almost inexhaustible resource of suitable electronic music out there, ripe for the picking should a video game developer or film director desire.
Syncsmith launches today (July 7th) – head to the website for more information.