WE’D LIKE TO INTRODUCE YOU TO

THE EAST WING

DEATH SPRINT 66.

WHAT WE DID

Set in a dystopian 2066, DeathSprint 66 is a high-octane, on-foot racing game from Sumo Digital, combining speed, spectacle, and deadly obstacles in a televised blood sport. We created all of the interactive music and in-game score for the game before being brought back to collaborate with Atomhawk on the launch trailer, handling the music composition, sound design, voiceover casting, and final mix.

Musically, the goal was raw, unrestrained adrenaline — a cinematic trailer track that built on the tone of the in-game score while pushing the energy to new heights. Our sound design aimed to transport the viewer into the Death Sprint arena: metallic, electric, and alive with tension. We used custom built synth patches to create industrial textures that blended seamlessly with the music, while in-game SFX like grinding rails and heavy footsteps built anticipation toward the explosive race start.

To complete the world, we recreated the voice of the in-game race host — a performance that feels like part of the broadcast itself rather than a traditional voiceover. We worked again with actor Joe Gaudet, who originally brought the character to life for the game — inspired by The Running Man’s Damon Killian and WWE’s Vince McMahon, channelling the over-the-top charisma of a dystopian showman. It adds personality and dark humour to the trailer, resulting in a unified, high-energy piece that captures the chaos, spectacle, and pulse of DeathSprint 66.

Press play for An additional selection of In game music we wrote for Death Sprint 66

HOOD, OUTLAWS AND LEGENDS.

WHAT WE DID

Once we’d completed our work on the game itself, the Hood: Outlaws & Legends reveal trailer became a project we really took to heart — an opportunity to take care of every element of the sound. During the game’s development, there was a lot of discussion about the mythology of “Hood” — not as a single man, but as a title passed down, a ghost in the forest known to the villagers.

That inspired us to create a lullaby — something a mother might sing to her child about this unseen protector. We wrote it as a simple, haunting melody, and although it didn’t originally have a home in the game, it eventually became the main theme. For the trailer, we created a new arrangement, transforming the quiet lullaby into something darker, more epic, and cinematic.

There was a strong emphasis on regional accents throughout the game, grounding it in the tone of the original legend. For the trailer, we cast a Scottish voice to keep us clear of the traditional “trailer voice” and stay true to that authenticity. With the music carrying so much weight, the sound design needed to be carefully restrained — focusing on the biggest moments and hitting them hard for maximum impact.

Press play for An additional selection of music we wrote for the game Hood Outlaws and Legends.

LADS, LADS, LADS!

WHAT WE DID

For this spot starring James Buckley (The Inbetweeners), our focus was on sound design — creating the right mix of energy and humour to match the larger-than-life visuals. We developed the intro “Warn Horn”, voiced by Brian Blessed with his unmistakable roar of “LADBROOOKES!”, which became a unifying audio cue across the whole campaign.

The sound design needed to feel big, bold, and just the right amount of ridiculous — capturing the buzz of the World Cup and acting as a rallying cry to fans everywhere, while keeping the tone playful and fun. When James Buckley arrives in his gloriously impractical space suit, the sound had to sell the absurdity without losing touch with reality. A mix of humour, energy, and sonic chaos!

GALA BINGO – “What’s Your Gala La La?”

WHAT WE DID

For this series of ads, we reimagined “Na Na Hey Hey Kiss Him Goodbye” — a track we’d already recreated for Gala over the years in countless versions and styles. This time, the brief was to come up with three distinctive new takes to match each Gala Bingo player’s daydream: an ’80s pop version, a Vegas-style brass band, and a classical/dramatic version.

We wrote and arranged each piece, played the parts, and recorded and mixed the live players to bring the tracks to life. The music needed to feel big, fun, and polished — capturing the playful tone of the ads while keeping the humour believable. All the vocals were performed by the actors themselves, giving each track that perfectly imperfect “real person singing along” charm.

BELAZU – “Add Drama to Every Bite”

WHAT WE DID

This beautifully shot 20-second TV spot, directed by Alex Telfer, is driven entirely by music — no dialogue, no sound effects, just score. We composed the piece bespoke to fit the precise timing and tone of the film.

The music needed to land perfectly on the moment the woman realises how amazing the food is — that subtle smile was the emotional cue everything revolved around. The brief called for something elegant and cinematic, with just a touch of humour to match the visual style and keep the whole piece feeling light and satisfying.

CRITTER CAFE – Launch Trailer

WHAT WE DID

We worked with Sumo Digital and Secret Mode on Critter Café, a cozy, heartwarming game full of charm and gentle magic. Our team handled all of the in-game audio — from interactive music and sound design to Unreal implementation, voice casting, and recording — so when it came time to make the launch trailer, it made perfect sense for us to craft the soundtrack too.

The trailer track was built from the game’s original musical palette to keep everything feeling connected, while lifting the energy just enough to grab attention. The result keeps all the cozy warmth and “marshmallowiness” of the game, but with a bit more sparkle and excitement for the launch moment.

An additional selection of In game music we wrote for Critter Cafe.

FULHAM FC ASIABET 33 – Training Session

WHAT WE DID

For this spot featuring Fulham FC players in training, we were given a bit more creative freedom — and the sound design really took centre stage. The footage was shot in a huge, echoey training hall that initially felt quite empty, even with a big music track underneath.

To bring it to life, we built up the atmosphere piece by piece: adding the roar of a stadium crowd, the thump of floodlights powering on, and dynamic whooshes and impacts to match the players’ movements. Once the sound design clicked into place, the whole thing came alive — suddenly, it felt like football.

CORAL VEGAS – “Electric Tiger”

WHAT WE DID

As described by the agency’s MD, Electric Tiger was designed to capture “the beating heart of Vegas” — dark, moody, and full of energy. The visuals, created by The Moving Picture Company, were stunningly cinematic, so our sound design needed to match that scale and intensity.

We built a sound world that felt alive and electric — car alarms, thunder and lightning, crackling bursts of power, and of course, the unmistakable roar of the tiger. The result is big, cinematic, and charged with excitement — a perfect sonic counterpart to the adverts pulse and attitude.

LOTTOMART SLOTS

WHAT WE DID

This fast-paced spot showcases a range of Lottomart’s online games, each with its own quick burst of action and personality. Our job was to create distinctive, easily recognisable sound effects for each game — sounds that could cut through the energetic music and busy visuals without clashing with the voiceover.

The challenge was all about balance: keeping the mix exciting and dynamic while making sure every sound landed cleanly and clearly. The result is a lively, punchy ad full of energy and instant recognisability — exactly what it needed to grab attention in just a few seconds.

GROSVENOR SPORT - Sky Sports Racing Bumpers

WHAT WE DID

This series of sponsorship bumpers for Grosvenor Sport aired on Sky Sports Racing and featured beautifully shot footage of horses — running, training, being groomed, and resting in the stables. The films had a quiet elegance to them, so the brief was simple: keep the sound design understated and refined.

We created a clean, minimal music edit to complement the visuals and added a few gentle sound effects — soft footsteps, the rustle of straw, distant movement — to bring a touch of real-world ambience without breaking the calm of the piece. The result is subtle and elegant, letting the beauty of the cinematography and the natural rhythm of the horses take centre stage.

THE CONVERT – 5.1 Mix for Cinema Trailer

WHAT WE DID

Set in a British settlement in the 1830s, The Convert follows a lay preacher (Guy Pearce) as his violent past and faith are tested amidst a bloody conflict between Maori tribes.

Our role was to deliver 5.1 and stereo mixes for cinema and online platforms. The trailer’s spacious opening allowed the dialogue to breathe, creating room for sound effects to take center stage without overwhelming the mix. This "less is more" approach heightened the impact of the trailer’s visual storytelling and emphasized key moments, particularly the dramatic stabs in the second half as tension escalates.

In the final sequence, balancing sound effects like gunshots with the orchestral score was critical. We treated the gunshots almost as percussive elements, ensuring they blended seamlessly with the music while maintaining their visceral impact. The result is a dynamic mix that enhances both the drama and intensity of the trailer.