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Solomon Grey

Joe Wilson and Tom Kingston don’t draw a line between the music they make as a band and the scores they compose for film and TV. Or if they do, it’s a faint one. As Solomon Grey, the classically-trained long-time friends have a sensual, cinematic sound that is their calling card for both, a beguiling blend of synths and orchestration that can evoke any emotion, capture tiny moments in time and summon scenes both real and imagined.

Fresh from their latest big-budget, TV-screen success as composers of the soundtrack to BBC One’s ‘The Last Post’ - Peter Moffat’s lavish, six-part, 1960s-set drama - Solomon Grey are back being a band, but only their focus has shifted. ‘Human Music’, which is a follow up to their highly acclaimed debut self-titled album ‘Solomon Grey’ released in 2016, is as powerful and ambitious, as visual and visceral as their sought-after soundtrack work.

‘Human Music’ is a collection of intricately crafted songs, which showcase Solomon Grey’s cinematic-style emotive soundscapes. The album delves into themes of choice, love and loss, and was written by the band at the time singer Joe’s mum was diagnosed with a terminal illness. ‘Human Music’ was influenced by her passing.

Sonically, there are parallels between 'Human Music' and 'The Last Post' score. The same 22-piece, Hungary-based orchestra played on both. A vintage CS-80 synthesiser was central to the two. The dynamic Clouds appears on both, albeit in different versions with diverse purposes. Experiences from each influenced the other - not surprising as they were written at the same time, with Solomon Grey sometimes switching between the projects on a week-to-week or even day-to-day basis.

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The Rift
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