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Set in the early 1800s, Remembered, if Outlived follows Nora O’Hara, a painter living under the control of her domineering father. When he arranges her marriage, the future awaiting her starts to look frighteningly like her mother’s. A ghostly presence offers another way out, though not necessarily a safer one.

This score was a lot of fun and is a blend between drama and horror. I used strings for the majority of it, alternating between intimate and darker cues.

Closing follows a widowed publican facing the sale of the family pub and the distance that has grown between him and his son.

I scored it with piano, strings and woodwind, keeping the music small and restrained so it could sit beside the performances rather than push them.

A Bite of Forever is an upcoming film directed by Keita Procopencko. More details soon.

Hit the Wall follows Caitríona Casey, Paul Brady, Conor McElduff and Diarmuid Nash through a gruelling competitive season, with Ollie Cassidy narrating.

Shot over two years, the film also looks at a sport that was once played in alleys across towns and villages all over Ireland and is now kept alive by fewer than 10,000 players.

It premiered at the Cork International Film Festival in 2024, where it was nominated for Best Documentary Short, before broadcasting on TG4 in January 2025.

Reunion follows two people coming back together and finding that being in the same room doesn’t erase what has happened between them.

I used strings, guitar and melodic percussion, keeping the score close to the performances and leaving plenty of space around it.

Elysian Siege moves between a sacred, ruined world and large combat sequences.

I worked on a team of composers to create a fantasy-based score to shift with that contrast, with each cue containing a wondrous melodic side for exploration and heavier percussive elements for combat. The Chapel theme, led by a solo string, returns in different forms as the world changes. It features soloist Natalia Hatz along with recordings with a string nonet.

The Good Farmer and the Failed Son looks at what happens when a family expects one life from you and you want another.

The score is modern orchestral, with piano and melodic percussion, moving between the warmth of the farm and the strain underneath it.

Samhain is a horror short directed by Domhnall Cotter, with sound design by Ben Lipson.

It screened at Galway Film Fleadh and later picked up several awards on the festival circuit.

The score combines an eerie atmosphere with a sense of dread and was recorded with the Budapest Art Orchestra.

Glasshouse Heart is a dark fairytale in which a Princess keeps feeding the Rabbit King’s hunger, whatever the cost. The film slowly reveals the world around her while she remains unaware of what is really happening.

I scored it with strings, flutes and glockenspiel, starting from a delicate fairytale sound and gradually making it stranger and less comfortable.

Panic INC follows Baz, a supermarket worker trapped on the night shift when the store is overrun by a ravenous horde.

The score starts with the boredom of the job and gets faster and more chaotic as the film unravels. I used sharp rhythmic changes, skittering textures and tight hit points to keep the comedy moving.

Chug a Beer, Hit a Deer follows Stan, a freight-train driver drinking his way through an overnight shift, until something ends up on the tracks that shouldn’t be there. From there, things get increasingly strange.

I used warped synths, uneasy pulses and odd little electronic details to give the film a queasy, off-balance sound.

Cursed Dogs follows RAF pilot Edward and Italian pilot Franco during the final stages of the Second World War. Their dogfight becomes increasingly surreal as both men are pushed towards the same end.

I took a more traditional orchestral approach here, with a combination of frantic and brooding strings, winds and brass used between the combat and tense moments.

Stalker is a short thriller about a young woman who realises she is being watched. It later screened on TG4.

I built the score from strings (you might be picking up a theme here if you’re still reading), prepared piano, processed string harmonics and low drones, often keeping the music just under the surface.

Star Quest! follows Conor, an ageing actor from a television space opera, as he drifts between the hospital and the fictional world that made him famous. Meeting Sean, a terminally ill boy, changes how he sees the idea of heroism.

I wrote the score to move between the smaller, grounded hospital scenes and the bigger fantasy material without making them feel like two different films.

The film has screened at eleven international festivals, including Fastnet, Kino London, Dam Short Film Festival and the Silk Road International Film Festival.

Furever After moves between memory and the present after the loss of a pet.

I wrote an orchestral score that follows the animation closely, moving between grief and warmth while passing themes around the orchestra.