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I’m Everett Young.

 

I'm a modern composer from Tallahassee, Florida. Whether a film calls for modern minimalism that stays out of the way of the action, or classic themes and melodies like the most memorable scores of cinema history, I live to create great music that sets the right moods and gives films big emotions.

I also like to compose in open, public spaces like coffeehouses and Whole Foods, where I sometimes set up my portable composing rig. If you see me out and about composing in Tallahassee, or anywhere else, stop and say hi!
To hear my music, just click below.

 

STYLISTIC RANGE

 

I have range!

Modern film scoring is often about creating moods using textures and soundscapes that enhance the action and match the energy level onscreen without calling too much attention to the music itself. Using a seemingly limitless library of drones, orchestral samples, world music samples, synths, percussion, live guitar (that I play here in-studio) and sound effects, “soundscape scores” are a joy for me to create.

My musical history also includes years of producing pop and rock music, and pop-, rock-, jazz-, or funk-based scores are also a strong weapon in my arsenal.

You’ll also find modern avant-garde writing in my portfolio, using chamber ensembles such as string quartets and odd, small instrument groupings.

And on occasion, a filmmaker wants a more classic score, reminiscent of the big, thematic, sweeping, singable and memorable scores that were more common in decades past. Think John Williams’s scores for Jaws, Star Wars and ET, or John Barry’s scores for James Bond films. Jerry Goldsmith, Elmer Bernstein, Bernard Hermann, Henry Mancini.  Growing up in the 1970s, while my friends were listening to KISS, these great composers were my heroes, and their vocabulary is a part of me. It’s always a special experience to compose a classic-type, thematic score for a film.

   

I'm also a longtime professional mixing and mastering engineer. This allows me to produce my own recordings at my own mastering studio, Modern Mastering, to the highest level, and get big-budget results for ridiculously affordable prices. Most of my work is done "in the box," using sampled orchestral instruments, but I have a rolodex of terrific professional players I call on to supplement these samples.

 

An interesting fact about me: I'm a failed academic! I earned a Ph.D. en route to a hoped-for career as a political science professor. I never got an academic job, though. At the time I was bitterly disappointed of course, but now I'm grateful that life steered me back to music. This is what I'll be doing 'til I die!

 

News & Updates

 

Twitter

10-29-2018: Today I’m orchestrating a score for a totally cool animated short called “La Migra,” directed by award-winning animator William Figueroa. William has encouraged me to “go big,” and I’m doing just that!

10-2018: Currently working to expand the minimalism in my portfolio. I’ve got enough old-school big orchestra stuff in there. Look for more soundscape minimalism in my portfolio soon!

 
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Music

Here you'll hear many of my compositions, along with some terrific musicians I often use.

Also, as a singer-songwriter I go by the band name "Kicklighter" and you can listen to Kicklighter's songs here, at Kicklighter.bandcamp.com.

While most of my instrumental dramatic scoring is done "in the box" using sample-based mock-ups, some of the terrific musicians I use to "add life" to the mock-ups are:

Violin and viola: Nicole McKenzie, Marla Feeney; cello: Nan Kemberling, Carter Dewberry; clarinet, flute: Marla Feeney; oboe: Tom Underwood; contrabass and recording/mix engineering: Tim DeLaney; trombone: Tom Gibson; trumpet: Alex Rodiek

I recommend them all! Contact me if you want me to connect you with one of them for your own recording.