Meet the Composer - James Murray

5 Minute Read |

James Murray

How did you get started?

I guess it started when I was living in London many moons ago! I was working and writing in the pop world with a brilliant producer named Dee Adam. We met when I was brought into the studio as a session guitarist by an artist (Tiffany Page), and things just clicked with Dee and myself. From that moment on, I pretty much never left.

We worked with all kinds of artists, from the unsigned, up-and-coming to big household names. It was challenging but also a great experience.During my time working with Dee was where I really gained the knowledge of how to write, record and produce music to a top level, and to do it under the pressure of deadlines.

I always had a passion for film scores and the blend of orchestral elements with more modern hybrid or rock genres (this probably comes from my obsession with Metallica S&M in my earlier years), but I remember hearing a track by ALIBI’s very own Sam Wale, which – unbeknown to me at the time – was a trailer track (it was a banger, too!). I became obsessed with the genre and music for sync, which naturally led to me pursuing a career composing for media.

Please list your top credits.

The Batman (teaser trailer)
Birds Of Prey (trailer)
Bumblebee (trailer)
Terminator: Dark Fate (Red Band trailer)

X-Men New Mutants (trailer)
The Kings Man (trailer)
Call of Duty Mobile Season 12 (trailer)
Apex Legends Season 1 (trailer)
Tomb Raider (trailer)
Bloodshot (trailer)
The Nutcracker and the Four Realms (trailer)

Captain Marvel (Oscars TV spot)
Ad Astra (TV spot)
The First Purge (TV spot)

What types of genres do you work in most?

I work mostly in trailer music and Epic Hop Hop, but – like many other composers – I do produce a variety of genres.

What is your favorite track for ALIBI?

I have two favourite tracks for ALIBI. One is called

. It’s an older singer-songwriter track written with my good friend Robert Clemson. He did such an amazing job on the vocals. I listen back to it now and it still gives me goosebumps.

The second is called

, which was written with my partner in crime, Ben Hayden (we work together on a lot of projects). It recently landed on a Netflix trailer of “Alien Worlds” and just has a great classic epic emotion feel to it.

Who are your biggest musical inspirations?

Nine Inch Nails
Pink Floyd
The Cinematic Orchestra Hans Zimmer
Junkie Xl

What makes your work unique?

I think the unique element comes from my musical past. I try to use all the skills I gained from my time working in London, and all the experiences I have had, to create music that feels current but with added spice to make it feel new.

Tell us one surprising thing people wouldn’t know about you.

I’m obsessed with sharks, and I know a scary amount about them. My partner and I like to play a game where she shows me a picture of shark and I guess what it is. Nine out of 10 times, I’m right!

Your funniest/strangest music experience

My strangest experience would certainly have to be when I found myself working with Geri Halliwell from the Spice Girls. I was brought in to work alongside Dee to produce some music for Geri. I’m 31 years old now, so when I was a little boy, the spice girls were at the top the game, arguably the biggest act on the planet at the time. So, years later, to be in the same creative space with one of them was a surreal experience, for sure!

Why do you like working with ALIBI?

I forget how many years exactly I’ve been working with ALIBI (5,6,7 maybe), but they’ve really looked out for me over those years. When I was starting, I really wasn’t that great and didn’t quite understand what was needed for tracks to be licensable, but they saw something in me. They gave me the chance to create music and mature as a composer.

The whole team at ALIBI is great; they are super dedicated and passionate. I’m proud to create music for them.

Any words of advice to share with composer hopefuls?

Stick at it, and you will get there. The early days can be really tough as a composer, especially when royalties aren’t coming in or tracks are not licensing. It can take a few years to see some real growth in licenses. Be patient and be dedicated.

How can people follow your work (website/Spotify/social channels)?

Share Article: