Called “the quintessential modern composer” by the London Independent, Austin-based composer-bandleader-improvisor Graham Reynolds creates, performs, and records music for film, theater, dance, rock clubs and concert halls with collaborators ranging from Richard Linklater and Jack Black to DJ Spooky and Ballet Austin.
Heard throughout the world in films, on TV, on stage, and on radio, from HBO to Showtime, Cannes Film Festival to the Kennedy Center, and BBC to NPR, he’s scored HBO’s “The Diplomat”, “Before Midnight” with Ethan Hawke and Julie Delpy, “Bernie” featuring Jack Black, the Rooster Teeth TV series “Day 5”, and many more. His score to the Robert Downey, Jr. feature “A Scanner Darkly” was named Best Soundtrack of the Decade by Cinema Retro magazine.
With the jazz-based but far reaching Golden Arm Trio, Reynolds has repeatedly toured the country and released four critically acclaimed albums. As Co-Artistic Director of Golden Hornet Project, Reynolds has produced more than sixty concerts of world-premier alt-classical music by more than fifty composers, as well as countless pieces of his own. He is a company member with the internationally acclaimed Rude Mechs, resident composer with Salvage Vanguard Theater, and works regularly with Forklift Danceworks and Ballet Austin.
Reynolds last released two albums simultaneously: “The Difference Engine: A Triple Concerto” and “DUKE! Three Portraits of Ellington” on Innova Records with distribution by Naxos, the world’s biggest classical label. His awards include a Creative Capital Award, an Independent Music Award, Lowe Music Theater Award, eight Austin Critic’s Table awards, the John Bustin Award, an Amp Award, seven Austin Chronicle Best Composer wins, and a B. Iden Payne Award. His current work-in-progress is a multi-year three part commission from Ballroom Marfa titled “The Marfa Triptych”, a portrait of deep West Texas that Vogue Magazine described as “beautiful and raucous”.
Mastermind Graham Reynolds draws inspiration from Sonic Youth and Henry Cowell at once, treading the line that these two influences share: deconstucted and innovative recastings of any and all musical materials.