On a dare (of sorts) from my pal Brian to take some of last year's songs out into a live setting, I ended up playing at the following show the other week:

Lifelike Family Presents: Abstracted
@ Townshend's Tea
Portland OR

March 7, 2015

- Exit Signs
- Temple Maps
- Cloud City Cars

And, furthermore, I recorded it! So if you missed this rare live Exit Signs performance, you may give a listen to the whole set here:

The live debut of a selection of tracks from last year's weekly song project, highlighting one song from each season and ending with a couple of new creations.

Set list:

1. Week One
2. Week Twenty-Five
3. Week Thirty-Nine
4. Week Forty-Eight
5. Week Two (Interlude / Remix)
6. Neverending

Brian Young of losingtoday.me was also kind enough to take some moody photos of the basement event:

Almost exactly one year ago, I was hard at work on an original score for a very exciting short film. This project - one of my first outside of the short and sweet film race events I had grown used to - proved to be much more challenging, despite the additional time at my disposal for completing the score. Thanks to Page Stephenson and Richard Beardsley, I wrapped up my portion of A Fistful of Lightning and learned many new techniques along the way.

Watch the new trailer for A Fistful of Lightning below:

A bounty hunter drives deep into the desert to apprehend and execute a fugitive in hiding with the aid of an electrifying instrument of death. Screening on Thursday, October 24th at 8 pm.

Official Selection of the Thriller! Chiller! International Genre Film Festival screening October 24-26, 2013 at the Wealthy Theatre in Grand Rapids, Michigan. www.thrillerchiller.com

This film is still making the rounds at various festivals and I look forward to the day I can share the entire thing with you all right here. As I mentioned, composing the score was no easy task for me but it proved to be an excellent learning experience. I had grown accustomed to a very rapid production process of multiple melodic or moody themes for film race projects, but this score - despite being a short 8-minute film - required wall-to-wall music and sound design synced very closely to the beats of the characters and cuts on screen.

I hope to share what I learned in more specific details in a future post, as it will require a much deeper examination than I'm prepared to write following the richly satisfying dinner I just inhaled. In short: Lots of synth tones twisted and layered with distortion and reverb, tons of precise volume automation, majorly-pitch-shifted and time-stretched sound effects, a jangly acoustic guitar, and even a healthy dose of restraint in a key scene that required all ears on the dialog.

Any questions or comments on the workflow I followed, or stories / suggestions from your own experiences working on such projects? I'm all ears as I'd love to do more work of this nature and improve my efficiency going forward.

Next up: A post detailing many of the mixing mistakes and fixes I came across while finalizing the mix for my debut Pinscape album, set for release in the coming months. Working with Scott Worley on this project was enlightening, and we're thrilled to have the final mixdowns now sent off to Taylor Deupree for mastering.

Allow me to introduce myself, as I've been doing a rather fine job hiding myself from the web for a good many years now: I am Matthew Flook, working stiff by day and electronic music production nut by night. Exit Signs is the home base for my production work, primarily focused on film score projects. But Exit Signs also has a number of branches protruding outwards, connecting to my electronic dream pop duo Pinscape, brother-sister synth pop project Sevy Verna, and regular audio work with local film team Monsieur Soeur.

This week has been full of excitement for me, as I had no less than 3 events showcasing my work at the first ever Portland Film Festival. We brought Pinscape to the stage for the opening night in NW and had a great show, I caught the screening of Pedagog by Richard Beardsley featuring my sound design, and this Sunday night will end with the screening of a short film I recently scored called Miasma by Monsieur Soeur. Miasma was created for the 48 Hour Film Project and was voted Best Film, for which we are incredibly honored.

As this busy month winds down I can only look forward to many great projects on the horizon. We are putting the final touches on the debut Pinscape full-length and intend to book a number of shows for the fall, and I intend to keep you all posted on such things right here at the Exit Signs hub. Stay tuned for additional content such as tutorials and tips for my favorite audio software, gear reviews, and of course new music from my studio.