Peter Bayne
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Sets
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BIO
- Composer, sound designer, producer, and musician for film, theater, avant-garde classical, sound art, hip-hop, left-field dance, indie rock, and points in between. He is a keyboardist, baritone, guitarist, and conductor. He lives in Los Angeles.
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RESUME
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PRESS
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“abstract musical mist”
Boston Globe (Love Song – Orfeo Group 2011)
“a dynamic pace is fuelled by Peter Bayne's contemporary, driving score.”
LA Weekly (Year Zero – The Colony Theatre 2011)
“Peter Bayne's crucial sound design is impeccable.”
LA Weekly (Opus – The Fountain Theatre 2010)
“The actors gracefully mime their musical performances to gorgeously recorded classical excerpts delivered by sound designer Peter Bayne.”
LA Times (Opus – The Fountain Theatre 2010)
“Special mention must be made to the original score by Peter Bayne, sounds that are arguably authentic to early 17th Century; a treat for the ears and one that helps us follow the quick ups-and-downs of the plot”
Stage Happenings (The Malcontent – The Antaeus Company 2011)
“Peter Bayne’s sound design, and original music composition, is also noteworthy for its appealing flavor and urgency.”
Arts Beat LA (The Malcontent – The Antaeus Company 2011)
“Peter Bayne’s original music and sound design provides a properly ethereal ambiance”
Backstage.com (100 Saints You Should Know – Elephant Theatre Company 2011)
“In this tender play, his (the playwright) short yet enjoyable scenes move with a pleasingly cracking pace, assisted by Peter Bayne’s contemporary and dynamic score”
Arts Beat LA (Year Zero – The Colony Theatre 2011)
“Peter Bayne’s interesting music fills the air during scenec changes”
Broadway World (Love Song – Orfeo Group 2011)
“That tone of bittersweet sophistication is enhanced by J Hagenbuckle and Peter Bayne's jazzy-gypsy songs. Picture Django Reinhardt setting up a cafe in the woods, and you've just about got it.”
The Boston Globe (As You Like It – Commonwhealth Shakespeare Company 2008)
“Composer/Sound Designer Peter Bayne deserves special recognition for his part in setting the tone. Opening strains of eerie, discordant music as the lights rise indicate this is to be no ordinary play.”
LA Examiner (Shining City – The Fountain Theatre 2009)
“Peter Bayne’s sound are so right that the audience, upon leaving the theater, may feel as if they are about to walk into a rainstorm of monumental proportions.”
Stage and Cinema (A House Not Meant To Stand – The Fountain Theatre 2011)
“Peter Bayne’s sound design [is] crisply professional”
Stage And Cinema (100 Saints You Should Know – The Elephant Theatre Company)
“...The terrific original score is by Peter Bayne”
Blogcritis.org (The Malcontent – The Antaeus Company 2011
“Peter Bayne’s sound design and mood-setting original music enhances the drama and power of every scene (much of the show is underscored like a movie, which adds greatly to the show’s emotional impact)”
Stagescene LA (The Miracle Worker – Hayworth Productions 2009)
“Peter Bayne’s tasteful yet plaintive original music”
Boston Phoenix (Three Tall Women – The Lyric Theatre Boston 2007)
“She certainly got a lot out of sound designer Peter who manages to conjure quite a bit of end-of-the-world atmosphere.”
The Hub Review (Marisol – Orfeo Group 2007)
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Posts
- Nov 28, 11Prediction.2012 = Year of Pop Punk's reemergence into the mainstream.Royal Headache is getting a head start.
- Nov 10, 11Stunning new release from Daniel Lopatin, synth magician, and new, new age leading light. This has got to be the most contemporary sounding, vintage debris oriented, stoner record from the hypnagogia set. This is why people really listen to OPN and only name check Ferraro.
- Nov 09, 11Brazilian balearic from Resista, Dan Snaith's newish re-edit/dance label. Super!
- Sep 14, 11Very intriguing release from this Montrealer, like a poppier, dance informed Broadcast for the Nite Jewel crowd. Weird bits of folk, lofi post rock, dreamy scenarios, bargain basement samples. The record seems to loose some focus at about track 5; songs like 'Grisgirs' in which for the last minute of the song we hear her singing what sounds like "meow meow meow" over and over. Sorry that's just not my kind of weird. The doomier stuff also fails to resonate much, I think largely because there's no mid-low range in any of the production. Lots of compressed digi-trash which all seems to work with the indie-pixie stuff, but not with the Grouper-like chanteuse stuff. Still, it's a cool entry. Ladies of the indie midstream eyeing that space that Bjork used to occupy remain unfilled - take note.
- Sep 14, 11
Sorry Pitchfork, this new Girls record sounds like a blander Soul Asylum sharted on a Crazy Horse record. Can we stop the mid-90's shit-rock pilfering? Same goes for you Kurt Vile. Writing a boring song that resembles boring songs from 20 years ago is still writing a boring song. - May 02, 11Tracks 8 and 9 of the new one from our old faves. Start up those campfires...
- Apr 28, 11The Fresh & Onlys move out of the garage, set their sights on indie rock mainstream, and fucking nail it. Fuzz be-gone.
- Apr 06, 11REALLY excited for this release. John Elliot from Emeralds teams up with Sam Goldberg from Radio People. Synthy dreams. Preorder at mego
- Apr 03, 11
- Mar 24, 11Posted stuff from this Oakland based not yr average mashup dude, way back in '08, and damn if he hasn't blossomed out. These are from his gorgeous entry into the Library Catalog series from Asthmatic Kitty. Srsly recommended.
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Posts
- Jan 17, 12
- Nov 09, 11
- Sep 09, 11
- Jul 01, 11FOURTH OF JULY FROM THE TUB
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Photos
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CONTACT
- Email / 415-999-0123
