Ashley Kingsley, a highly experienced composer in both Electronic and Orchestral production, is determined to leave his musical mark on the world. Starting his career in the mid-nineties and using his skills in the manipulation of sound alongside his creative expertise, he has crafted a unique quality to his sound. This sense of originality in his musical image has led to his work on ‘Auschwitz 70th Liberation Anniversary’ for the BBC, and current projects such as ‘In the Company of Women’. “Ashley’s score for our Auschwitz Drone footage struck the perfect chord” said Marko Zoric (BBC News YouTube Editor) “It was haunting and simply mesmerising. Our global audience clearly appreciated the tone and the mood of the composition for what is a sensitive subject for so many people.” If that wasn’t enough, he has performed at many private events with an audience ranging from HM The Queen at Westminster Abby to the Prime Minister at Downing Street. I’m fascinated to see where his career will take him next. Here is a brief insight into his life as a composer.
What brought on this leap from musician to composer?
“I’ve always composed in some form, whether it be pop, soul, etc. I wrote and produced for various artists such as mobo award winning jazz act the Jazzsteppers and MBE Beverley Knight.The big change I guess was to commit to composing for film/media, which is something I did five years ago. For me, it’s not a big leap in terms of musicianship because everything I’ve learned about being a musician, I’ve adapted into my music.”
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You studied at the royal college of music, one of the most prestigious film composing courses in Europe. What do you think you’ve gained?

“I think I gained a great insight into working with orchestral players, unlike rock’n roll players, orchestral players really are a different breed, I had to really work on my score writing as orchestral players rely on the score being very accurate, in fact, in my first year I was quite disappointed in my live recordings, but I worked hard to improve my directions in scores, especially with dynamics which eventually made a vast difference in my recordings.

I think I’ve also learnt about how completely different composers are in everything that they do!”

So, what makes your sound unique?

“I think, my background playing in so many different bands and genres has groomed my own sound. I’m very adaptable, but I do feel like I’ve got my own voice.”

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Who, would you say, are your most important influences?

“My musical influences range from all spectrum’s of music, my favourite film composers are John Williams and Jerry Goldsmith, James Horner, Danny Elfman to name a few, but there are so many.”

What projects have you been working on recently?

“I’ve been writing some varied production tracks for Extreme music and a few other companies and I’m currently composing for a feature film  called ‘In the Company of Women’ directed by the Silver brothers.”


Generally, how many hours go into one of your tracks?

“There are never enough hours! I like to work on a track until I know I can’t do anymore, obviously deadlines dictate the amount of time I can indulge, but sometimes I can spend over 100 hours on a production track.”

What do you think the future holds for you?

“Hopefully the future will bring many films and commissions as it’s something I’m very passionate about.”

What does a day in the life of a composer consist of?

“I like to get up around 7am and work as long as I can! Every composer has a different routine, but I prefer to work in the day, especially the mornings.”


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