‘Time to fire up your cabinets.
Or the good headphones.

Maybe it’s one great lyrical song to anchor your film’s end credits. Or the perfect audio bed for your commercial. From five-second stinger to full-length ambient score, you can order up pretty much any music you require from Papa Chuy.

We compose, perform and
produce original music
for your story.

This music will play just fine on whatever speakers are most convenient. Heck, you may be in your neighborhood coffee shop wearing those cute, tiny buds—we get it; but even though the original high definition of these clips has been lowered to 192 kbps (mp3), to serve our purposes here… if you’re able to demo our work on a quality sound system, we hope you will.

the room is spinning/worth saving
Digest film score; orchestral/modern/ambient; 00:01:39
Details These contiguous pieces were fashioned for the dark comedy short Pincushion. You’re able to hear them in context on our video reel. Section 1 (“The Room is Spinning”) is approximately 9.5 seconds in length and called for something that felt briefly dramatic and mildly cartoonish while staying as unobtrusive as possible. On the other hand, section 2 (“Worth Saving”), needed to feel equal parts tender and trancelike, since this is where the stunned, jilted John pours his earnest (albeit clueless) heart out to Jane. Patsy relied as much on traditional symphonic instrumentation as she did on effects such as prepared piano and violin slides to achieve this aim. Harp and bells are conversing just as the film’s two leads have been until this pivotal moment.
Digest film score; hard rock; 00:00:40
Details Voices insisted on a very different approach than glasskid is generally asked to take. As the official short’s description states, the plot is one in which “at a typical college party, a lonely and jaded guy offers a running commentary on the mating games surrounding him, treading the boundary between desperation and misogyny”. We were asked by the writer/director to create ambient music for the party, as opposed to background music for the film, itself. (In other words, we were responsible for crafting the tunes being blasted from the apartment stereo.) Only the closing piece would act as customary score. This was a gladly received challenge because it meant we could play with a number of popular contemporary styles. We realized, however, the importance of allowing this music to help propel the diegesis to its denouement (as “they” say). Thus the earliest heard pieces are throbby and melodically amorphous. As the protagonist’s mood darkens and intensifies, so do the musical compositions, which brought us to “Pump”. Mar’s many years of girding power rock outfits with her serious shredding came in handy, for sure.
Digest film score; orchestral/West African; 00:00:46
Details In the absorbing documentary Side by Side, we encounter a band of resolute women who, against great odds, are working together to change politics in the once war-torn nation of Sierra Leone. The word ‘reclamation’ describes the recovering of something for reuse, and that is literally what the 50/50 Group is all about; they are salvaging both homeland and dignity. This particular motif was designed to imply a gradual rising up from a morass. We wanted the listener to hear chains falling away and relied on an African shaker to frame that suggestion. The strings have a weary quality yet hint at a specific stateliness.
let the games begin
Digest film score; drum ‘n bass/electronica; 00:01:14
Details This is our opening piece for the short film Voices. (See “Pump”, above, for notes on why we elected to kick things off with something of this nature.) We were happy with this one because we thought it positively reeked of Keg Party with Stale Chips. (Not that we’ve ever attended one of those…)
Digest TV score; orchestral; 00:00:15

We were brought onboard as composers for a pitch (to the UK’s equivalent of the History Channel) that focused on the great medieval fortresses of the Eastern and Western worlds. It’s always BIG fun busying ourselves with work like this because, frankly, we’re history nerds. Especially Mar.

Our process involves what can best be described as tag-teaming. Because Patsy is a dyed-in-the-wool Francophile, she was given the lion’s share of duties on this theme (‘only fair, right?), used for the pilot episode’s capsular look at le Château de Brissac-Quincé.

Digest commercial score; ambient; 00:01:28
Details Mar’s first instrument is guitar. Patsy’s is piano. But sometimes we wake up feeling all mavericky and whatnot and switch roles to see where it will lead. On this submission for a luxury car commercial, we doubled up on keys, both of us jumping back and forth between piano and moody synth patches. The overall musical concept was Mar’s. We (and the good people who hired us) felt satisfied that the tone was a perfect match for the spot’s visual component—lots of open road and dreamy sequences.
operatives (opening theme)
Digest TV score; orchestral; 00:00:12
Details “Operatives” is a laugh riot TV series in development that bears a passing resemblance to “Get Smart”. We hope it gets picked up because we think it would be highly enjoyable to furnish the musical underpinning for such inspired tomfoolery. And anyone who knows Patsy knows that she harbors a deep (almost obsessive) affection for spy music. She routinely launches into her impression of Shirley Bassey‘s performance of “Goldfinger” for no apparent reason.
side by side (extended instrum. version)
Digest film score; West African/acoustic; 00:00:30
Details When we were plucked to score Side by Side: The Story of the 50/50 Group of Sierra Leone (see “Redemption”, above), Mar immediately began immersing herself in the study and practice of West African guitar styles. Patsy had already been expanding her knowledge of African percussion and regional rhythms, so the timing couldn’t have been better. Throughout the film’s course, we attempted to successfully marry authentic indigenous Sierra Leonean guitar and singing modes with conventional symphonic arrangements, but African spirit ultimately dictated our compositional tack. It was Africa’s story to tell, after all.
murder in malibu (main theme)
Digest film score; orchestral; 00:00:35
Details One of the first films on which we ever put our heads together was a Lifetime-esque mystery-cum-ghost story called Murder in Malibu. It has an old school “Cannon” feel to it, so Patsy opted to add what she refers to as “Quinn Martin horns”.
news from tikrit
Digest film score; ambient/Middle Eastern; 00:01:05
Details This is the age of movies concerned with the seemingly endless Iraq war, and “News from Tikrit” is lifted from our contribution to one of them—a genuinely affecting short titled Transmissions from the Hinterlands. Another early glasskid effort.
lash is loose
Digest film score; rock; 00:00:13
Details Stefan Lash is a very, very bad man. Mark our words. The main character in Locked Up Tight may be safely affixed to the perpetually-growing list of vindictive horror genre types (e.g., Saw‘s Jigsaw) who believe their victims should suffer not only physically but emotionally as well. Our objective was to produce a jarring set of claustrophobic passages (like this one) to illustrate that Lash has a thing for subjecting his prey to enclosed spaces and novel forms of asphyxiation. Patsy worked with shielded eyes the entire time. Mar derived thinly-veiled pleasure from that fact. Yin and yang—per usual.
god's work
Digest film score; choral/West African/orchestral; 00:00:31
Details In The Novitiate, a young Jesuit from Ogbomosho begins preparing for monastic life. During an obligatory thirty-day retreat, in the Ignatian model, he struggles with whether his commitment is wholehearted. This film prescribed a score reflecting the juxtaposed cloistered existence and modern world that unremittingly tug at the priest-in-training. We think we found the proper mix.
Digest stage score; acoustic/ambient; 00:00:49
Details This time out, we composed for inSignificant Others, the maiden undertaking of Troupe West, an L.A.-based independent theater company. The show was a collection of one-act plays that examine love and relationship. While Act I embraced an optimistic perspective, Act II delved into the duskier side of contemporary affairs of the heart. These were no slouchy playwrights being represented—Durang, Ives, Bogosian, Martin, LaBute, Pinter, and Anderson, whose Lynette Has Beautiful Skin gave rise to this piece—so we were compelled to put our best feet forward. Patsy’s inspirations for “Lynette” were Stephen Foster‘s “Jeannie with the Light Brown Hair” and the horn arrangements of Burt Bacharach. No, seriously.
the rupture suite
Digest film score; orchestral/modern; 00:00:57
Details Again, music from Pincushion. (See “The Room is Spinning”/”Worth Saving”, above.) This was originally intended as the end credits score and takes its name from the notion of our male lead feeling (with good reason) that his heart has been ripped out. Unabridged, “The Rupture Suite” is just over two minutes long, touches on all motifs found in the film, and (as should be obvious here) strays from musical safety. There is liberal usage of modern experimental techniques—most prominently, interplay between a prepared piano and atonal violins. Slide trombones convey the figurative braying elephant stampede that has trampled on John’s hope of happiness with Jane. Parade drums rap out ill omen. And all against an eerily evocative backdrop of airy synth pads and spectral vocalese. We confess it’s one of our favorites… ’cause we’re weird like that.