Mulberry Harbour produces soundtrack music combining the warmth, phrasing and individuality of live recording with electronica, samples and programming. As well as producing commissioned music, a large number of pre-cleared tracks are available for licensing.
Often combining live recordings on an old 8-track with digital software, Mulberry Harbour's methods include self-sampling fragments of finger-picked guitar, cuatro, bowed saw and theremin; recording ambient sounds and snatches of conversation on a mobile phone in lifts, bars and tunnels; and stripping randomly generated drum patterns into skeletons of their former selves. The result is an at times quixotic combination of sounds such as the Morriccone-esque harmonica vs. percussion of Electric Candle Machine and the fragile, haunting melody of bowed saw over metronomical beat on The Water Boatman
IDM, electronica and folk producer on Warp, with penchant for field recordings and found sounds
Incredibly beautiful and moving modern classical with spoken word samples and hints of electronica
Almost unclassifiable Finnish collective of free folk experimentalists
Pioneer of minimalist music, speech melody and phasing
Multi-instrumentalist singer-songwriter partial to a bit of banjo
20 member chamber orchestra recording contemporary music, including acoustic arrangements of Aphex Twin
alt.country pioneers led by the irrepressible Kurt Wagner, who occasionally veer into soul, rock and lounge
Diverse contemporary classical music, with use of 'repetitive structures'. Rousing, epic soundtrack work on Mishima and Candyman
The epitome of the melancholy English singer-songwriter
Sam Beam's alt.country outfit, hushed songs and mesmerising fingerpicked guitar
Distinctive Scottish folk maestro
Dusseldorf composer who explores the possibilities of prepared piano
Slow-paced, wieightless piano music from Keith Kenniff (Helios), close mics capturing every keysound
Kieran Hebden's instrumental pot pourri of electronica, folktronica, jazz, techno
Alt.rock, horses and home recording from Danger Mouse collaborator Mark Linkous