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David Norland's screen music includes the Emmy-nominated HBO film “My Dinner With Herve” (HBO 2018) starring Peter Dinklage and Jamie Dornan, the Emmy-winning documentary "Anvil! The Story Of Anvil", (which also won the IDA Best Feature award, the Indie Spirit Best Doc award, and numerous other best doc awards around the world) as well as the score for “November Criminals” (Sony 2017) starring Chloe Moretz and Ansel Elgort.
Having been a chorister from an early age, singing daily in Westminster Abbey, and a boy treble in The Elizabethan Consort of Voices, a touring choral group of the time, he also composes choral music. His electronic band Solar Twins was signed by Madonna to Maverick Records, and rode high on the US dance charts, and his record writing, production and mixing work with Jamaican legends Sly and Robbie has been nominated for a Grammy.
"Glam Tear Stain", his first release on Denovali Records, is simple melodic and tonal music for for piano and strings, filtered through the electronic, spatial, and experimental lens of Norland's earlier musical endeavors - and on a personal level was made over a time of profound sadness, change, and acceptance. It’s stranger than other music in the broad neoclassical field, drawing from influences as diverse as The Future Sound Of London and 16th century English choral music.
Having been a chorister from an early age, singing daily in Westminster Abbey, and a boy treble in The Elizabethan Consort of Voices, a touring choral group of the time, he also composes choral music. His electronic band Solar Twins was signed by Madonna to Maverick Records, and rode high on the US dance charts, and his record writing, production and mixing work with Jamaican legends Sly and Robbie has been nominated for a Grammy.
"Glam Tear Stain", his first release on Denovali Records, is simple melodic and tonal music for for piano and strings, filtered through the electronic, spatial, and experimental lens of Norland's earlier musical endeavors - and on a personal level was made over a time of profound sadness, change, and acceptance. It’s stranger than other music in the broad neoclassical field, drawing from influences as diverse as The Future Sound Of London and 16th century English choral music.
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