Denovali Records are releasing an EP of remixes from Glam Tear Stain, including mixes by Sly & Robbie and Bersarin Quartett. New remixes come from LA jazz and New Music luminary Nick Depinna (LA Signal Lab), and Denovali label-mate Philipp Rumsch.

Nick DePinna's otherworldly future-jazz remix of "To Shasta Mill" precedes the EP release on January 15th, and the EP drops on January 22nd.

The full EP tracklisting is:

1. "Agate Or Barium" (Bersarin Quartett Remix)

2. “Barotraum" (Sly & Robbie Remix)

3. "How To Blow Your Extraordinary Life Into Little Pieces" (Philipp Rumsch Remix)

4. "To Shasta Mill" (Nick DePinna Remix)

 

 

 

The score I wrote for November Criminals, starring Ansel Elgort and Chloe Moretz, is finally getting a release, on Denovali Records. I used some fairly experimental techniques, not least Ircam's CaTart software, and we've included some extra tracks on the release that were written for the film.

The album is released towards the end of February 2021.

Inspired composer of soundtracks to dreams (and Denovali label-mate) Bersarin Quartett has remixed Agate Or Barium - and it's a beauty. It'll be released on October 2nd, on the usual streaming platforms.

I've just finished scoring director John McCrite's devastating and inspiring documentary about the founder of India's Pink Belt Mission, Aparna Rajawat, and her journey to bring Indian women and girls together to confront the epidemic of violence and abuse of women in India.

It was a privilege to dig deep for the music for this story - it's a beautifully made film, and Aparna's message and story are very powerful.

The remix I did of Eden Iris's "Dark Sunday Dream" has been getting consistent radio play in the US. I thought it was a great song the first time I heard the original version, with a simplicity and sadness I really connected to, and Eden's voice is profoundly haunting.

Listen here

I collaborated with Sly and Robbie over a decade ago on their Grammy-nominated album "One Pop Reggae". I'd always been a fan, and not only of their work as producers and with Black Uhuru, but especially of the music they made as part of the Compass Point Allstars - still my favourite studio band of all time.They kindly agreed to remix Barotraum, and the outstanding result has been finding airplay on KCRW among other stations.

Listen here

“Really gorgeous record” - Alex Ruder, KEXP Seattle

“Brilliant record….” - Jason Boucher, WSCA Radio New Hampshire

“Fragile beauty….. contemporary minimalism and electronics.” - Broadway World

“Killer cinemascope listening.” - Chris Spector, Midwest Record Report  

“….an album capable of playing with feelings, a punch in the stomach, between joy and pain…. that makes room for memories….. after taking your breath away brings you back down to earth.” - Mario Ariano, Radioaktiv Magazine 

“…melancholic, moonlit….” - Self-Titled Magazine

“…enveloping and cinematic…” - God Is In The TV Magazine

An interview  with Kendall Cromartie at Film School Rejects:

https://filmschoolrejects.com/composer-david-norland/

Edith Bowman (who just won gold at the British Radio Awards, for Best Specialty Music Show) talks to Sacha about the music in My Dinner With Herve, and plays the score.

Listen here.

I'm delighted to announce I’ll be a panelist on Impact24 PR’s "Sound And Music" panel at ComicCon's SAM 2018! I’ll be on the panel with Sacha Gervasi, talking about our latest project, "My Dinner With Herve".

It was a pleasure to welcome Craig from the excellent sample library SoundIron to my studio. We discussed the score for "My Dinner WIth Herve", and we went through a couple of the cues, talking about the scoring process and how I approach it.

Peter Dinklage delivers an amazing performace as Herve Villechaize in this HBO film. The score is strings, piano and electronics, written mainly at my old studio before I moved into the new studio in the hills.

I'm currently scoring "My Dinner With Herve", which is another collaboration with Sacha Gervasi, and stars Peter Dinklage and Jamie Dornan.

I just finished scoring “November Criminals” for Sony, starring Chloe Moretz. It comes out later in 2017. Some of the cues are over on the work page. We recorded the strings at The Village.

I’m working on a new record release of recent compositions... should be ready to go by March 2018. Some of the works-in-progress are under "The City Across The Water" over on the work page.

We have just launched a wonderful, super-high quality music library, which is stuffed to the brim with lovingly created cues by yours truly and some of the finest composers and musicians in Los Angeles. It's already being used on several TV shows. The Uncommon Library is here:

http://www.uncommonlibrary.com

I am working on music for a film by award-winning documentary-maker and humanitarian activist Meena Nanji. The film will premiere at the Los Angeles FilmFest in June.

Michael Garber’s poignant documentary “A Cemetery Remembered” has a score by me and the excellent Nick DePinna.

I've also been busy keeping up the flow of music to ABC for 20/20, Nightline and several of their other primetime shows. Generally the kind of music they ask me for means I spend hours devising new sounds and textures, delving into the rows of instruments in the studio, and generally trying to find new ways to coax strange sounds out of them, then setting up microphones and recording the most striking sounds I can make.

One of my choral pieces was recorded in December by the choir of St Michael's, Cornhill, under the direction of the excellent Jonathan Rennert. The church is right next to the Bank of England in the heart of the City of London, and has an interesting choral history, for me at least: Harold Darke, the composer of "In The Bleak Mid-Winter", (or at least of the setting I prefer…) was organist and choirmaster for several decades in the 20th century. My mother seemed to think he was a distant cousin, and I am only too happy to claim the connection… I love that carol. Sometimes I think every piece I write is a carol in disguise.

I have a couple of carols in the works, but you wouldn't believe how hard it is to find good texts. And on that note, I am working on a choral setting of "Ash Wednesday" by T. S. Eliot, which probably needs to be ready by Ash Wednesday, otherwise it'll be another year before it gets an airing.