Your network connection has been lost, so you may experience media playback
issues. This page will automatically refresh when you are back online.
Ent
Titles
SaturdayPrimetime - melodic big brassy gameshow
1:10
ATimelessTale - Big, driving orchestral
0:55
GoWithTheFlow - electro pop/dance with glitchy vocal
0:39
Face The Music - serious, big brass
0:58
SaturdayPrimetime_02 - brassy gameshow vibe
0:37
RobotRave - electro, dancy melodic
0:32
TheBigEvent - building, trailery orchestral triumph
1:43
FairyScary - dark fantasy orchestral
1:19
FuriosaInCMinor - fast neoclassical danger
0:31
DancingToDestruction - big orchestral fun waltz
1:04
Fundead - grooving guitary/bass underscore
0:30
Drums_On_Fire - energetic percussion
0:47
Full_Party_Trooper - poppy indie guitary
0:27
Stairway to Gold - energetic driving rhythm
0:42
Underscore
Bed of Mallets - ambient, bed, ambiguous
0:44
NoLookingBack - percussive, danger, trailer-ish
0:59
DW - Bring Me the Cyberhead - rhythmic, groove, cinematic
1:07
At The Edge of Life - abstract, gnarly sound design
0:58
Black Hole - dark, rhythmic synthy
0:26
Singularity (driving synthy rhythmic)
0:35
Neon Highway (poppy 80s synthwave)
0:21
Droplets (twinkly positive)
0:30
An Escalating Threat (industrial/electronic cinematic rhythm)
1:17
softer
Playing Games (acoustic, jolly)
0:50
ClockworkChillout
0:51
Glass_Slippers (delicate, twinkly)
0:39
Horrors (horror underscore)
0:52
DarkDimension (industrial horror/trailer)
0:27
Richard Wilkinson
composer
a composer for videogames, tv and film. Peaky Blinders VR, Doctor Who: The Edge of Time, Narcos: Rise of the Cartels and many more. Absolute obsessive when it comes to finding a project's musical identity and then bringing that to fruition in the most creative, vibrant way possible.
Biography
From his studio in Brighton, Richard Wilkinson draws on a rich variety of musical inspirations, from his brass band upbringing in Lancashire, to classical piano training and creative sound-manipulation from his years of experience as a sound designer.
His music for videogames and feature films is bold, melodic, charismatic and painstakingly crafted, whether it’s an expansive, thematic orchestral score or an intimate, textural minimalist sound. In recent years, he’s worked on several high-profile videogame and VR projects, like Narcos: Rise of the Cartels, with its ronroco and charango-led folky score, reminiscent of Pedro Bromfman’s excellent work on the original Neflix series.
Narcos featured a music system designed to sound like a semi-improvisational South American folk ensemble accompanying the peaks and troughs as the action unfolds – it was praised for its authenticity as well as the dynamic, scored-to-picture effect it produced during gameplay.
His work in the Doctor Who universe has been warmly received by fans and critics, with a critically-acclaimed soundtrack to the first ever feature-length VR episode of the show, Doctor Who: The Edge of Time. The score (recently released as a collectors’ edition vinyl LP) is a mix of orchestral, melodically-led thematic work, alongside plenty of the kind of sonic experimentation that goes to the heart of the show and harks back to Delia Derbyshire’s work with the Radiophonic Workshop.
He has recorded a new version of the iconic Doctor Who theme, used in two Doctor Who games in 2021.
Richard recently finished the acclaimed soundtrack for the Peaky Blinders VR game, with Cillian Murphy and Paul Anderson reprising their roles from the smash-hit TV series. He recorded a string sextet at Air-Edel in London, alongside solo sessions for double bass and guitars.
The new BBC series 'Killing Sherlock: Lucy Worsley on the Case of Conan Doyle' with an original score by Richard is due to air in December 2023.
Representation
COOL Music
Agent