Writing music professionally since 2007 and and winning the Best Composer category at RTS Bristol 2023 (also nominated in 2021 and 2019). I work from Stokes Croft in Bristol, where I compose for various media projects including title themes, documentaries, short films, ads, and animation with Aardman. My primary motivation is storytelling, and I work in a variety of genres to best support the narrative of the project, though my background is in classical music and experimental rock. Alongside playing piano, guitars, drums and trombone, I compose using the most modern digital sample/synthesis equipment, alongside analogue modular synth and live recording where possible. I have worked as a music editor with composers Neil Davidge and David Poore on high budget dramas. I hold a 1st class degree in commercial music composition.

I have an additional understanding of music for media from my career outside composing. Working as a dubbing mixer and dubbing editor/sound designer, I have years of experience of TV (Countryfile, Gardeners World, One Born Every Minute, Simply Nigella, and numerous BBC Studios and BBC NHU documentaries as well as on many commercial projects for Aardman). Before this, I worked as a boom op on TV dramas and feature films including Downton Abbey, I Give It A Year, and Belle. This expertise across all areas of soundtrack production, as well as being around editing suites on a daily basis, gives me a rounded knowledge of how a whole soundtrack comes together, and where how and why to use music to effectively tell a story.

It's always helpful to get started talking about music as early as possible in a project, and I'm always happy to advise and chat through options so chuck me an email

e: matt@mattloveridgecomposer.com
p: 07825 872 343

Old Windows

Short

Film /
Drama

Directed by Paul Holbrook

Starring Larry Lamb & Laura Bayston.

A struggling cafe owner’s mundane life takes a turn when a mysterious stranger comes in for tea and cake

Co-Composed with Jim Cornick, our score for Old Windows subtly supports and underscores the tension and drama, mostly leaving the script and performances to shine through, before an extended dialogue-free final few minutes where the piano and guitar-led score builds to a crescendo, hinting at darkness before culminating in an epic post-rock credits piece.