Florian Mauny
Musical Composition
Inspired by Akira Yamaoka, Trent Reznor, Mac Quayle and Throbbing Gristle, my musical style lies between Drone, Ambient, Industrial and Noise .
With the aim of interfering, reinforcing or creating an atmosphere faithful to the image, I primarily compose for films, series, documentaries and video games. My favorite genres are horror, fantasy, thriller, drama and experimental.
Combining stimulation, melancholy and hypnotism, I use sounds such as variable frequency layers, bowed string instruments, electronic/noisy/tribal percussions, various sound effects bordering on the indescribable as well as a multitude of hallucinatory effects. Passionate about exploring the unconventional, my goal is to design a dark, destabilizing and psychedelic sound atmosphere that will bring a unique ambiance to a visual work.
5/6
The soundtrack of "5/6," a short film written and directed by Antony Tremblay-Falardeau, deals with emotions, obsession, and the psychological degradation that results from them. Vivaldi's "The Four Seasons" is the emotional engine here, with each piece conveying a character's emotion. The four iconic titles are accompanied by a widening sound spectrum: Distress (Spring), Rage (Summer), Frenzy (Autumn), and Terror (Winter). The instruments used are primarily the Resonant Garden, the Subsequent 25 and the Prophet Rev 2.
ESSAY 21
It was on this long project that I was able to define my musical identity. Like a character, the music of "Essay 21" accompanies the protagonist and adapts to his journey throughout the film. The soundtrack can be compared to a catalog of locations and emotions, since each piece represents an atmosphere specific to each space but also conveys the different psychological states the protagonist experiences. The genres explored range from Dark Ambient to Drone and Noise. I primarily used the Yamaha Motif 6 synthesizer and various sound effects mixed with several layers of reverb, inversion and temporal modulation effects.
PASSAGE
"Passage" embodies an initiation into both cinema and music. With the help of Xavier Vaudin, it was on this project that I was able to explore and define my musical signature. The challenge was to create a soundtrack that fit the visual narrative, but also to reinforce the film's disturbing and claustrophobic aspects.