Lyndn Gauntlett on Musical Satisfaction and ‘Harmonic Ear Biscuits’

Lyndn Gauntlett is a British composer known for his contemporary, minimal, and sometimes quirky style. He comes from a jazz music background, having played and arranged for jazz bands, including collaborations with legendary British saxophonist Bobby Wellins.

He’s been working in music for sync for 15 years and music has been heard on platforms like Netflix, Disney, BBC, and ITV.

Below, Lyndn chats with LBB about his latest release with Jake Ridley, the jazz influence on his work, and love for drum and base.

LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Lyndn> I usually start with the piano, or at least a chordal instrument of some sort.

From there if I’m working to a brief I’ll naturally pick the elements needed and build the track, leading generally from a harmonic point and finishing melodically.

If I’m not working too briefly I’ll pretty much just start and see what comes out, always from a building block of chordal harmony. One thing always leads to another and it’s usually music!

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity – what are your thoughts on this? Do you prefer to work solo or with a gang – and what are some of your most memorable professional collaborations?

Lyndn> I like both solo and collaborative projects. It’s always nice when someone else brings something to your ideas, it’s often surprising what comes out at the end of the process!

The ‘Club Symphonica’ album with Jake has been one of my favourite projects to date.

Another of my favourite projects was with my son, we worked on a batch of dark, moody vocal works, it was bleak but super cool.

LBB> What’s the most satisfying part of your job and why?

Lyndn> This would have to be that people enjoy what I write, you can’t ask for any more really.

Oh and drinking tea.

LBB> Who are your musical or audio heroes and why?

Lyndn> Wow, there are many. I like music from all genres, as long as it’s good!

I like a lot of the jazz greats, coming from a jazz piano background. One of my all time faves is Oscar Peterson, followed by the astoundingly beautiful Bill Evans. There are so many.

Every genre has its great artists/albums.

On the other extreme I’m a lover of drum and bass, Andy C is pretty great.

LBB> And when it comes to your particular field, are there any particular ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Lyndn> Not really on the production and writing side of things, but on the playing my instrument front it’s got to be people like Oscar Peterson, Bill Evans and a million other great piano players.

LBB> When you’re working on something that isn’t directly sound design or music – are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Lyndn> I don’t actively put anything on when I’m doing admin etc, it generally doesn’t distract me when there’s something going on though.

LBB> I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. There’s the switch from analogue to digital and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low-quality sound (often the audio is competing with a million other distractions) – how does that factor into how you approach your work?

Lyndn> I’m never really thinking about that. As long as my final mix is sounding good at my end I’m happy with that. It’s amazing how bad music through a phone is though!

LBB> On a typical day, what does your ‘listening diet’ look like?

Lyndn> If I’m in the car I’ll have the radio on and generally be listening to some classical music. I'm always listening out for amazing harmonic ear biscuits!

Nine times out of ten at home it’s drum and bass.

LBB> Do you have a collection of music/sounds and what shape does it take?

Lyndn> I’m generally streaming music these days, I had a ton of vinyl years ago.

I remember things sounding really great on vinyl but when I stream them now they’re not quite as sparkly. I wonder if it’s that the sounds were new back then and obviously the tech was too.

Could be my ears!

LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music?

Lyndn> I love the natural world, I’m out in the countryside and am always happiest when I take a break from work and step out with the dog into the fields. I’m pretty obsessed with rock climbing too, there’s something about the movement on the rock and being in places not everyone has been or will be. I like a spot of gaming too.

LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do – I’d love to know what are the most exciting or inspiring experiences you’ve had when it comes to sound and music on your travels?

Lyndn> I spent a lot of time in my teens hitching around Europe. I always loved being in and around the Alps and the huge spaces. I’ve always headed to the wild nature. That’s inspirational for me.

LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions in the same intensity as in our youth – how has your relationship with sound and music changed over the years?

Lyndn> From the start I was driven to play the piano and nothing else mattered. As I got older the whole gigging thing just became too much of a headache and I happily found my way more into the compositional side of music. Playing live is great but not having to do all that leg work is far better!

I think that AI is possibly going to bring about a big rise in demand for live music, so maybe I'll dust off my fingers one day!