Esion Noise are a sound design partnership committed to making media projects sound as good as they look.
Sound surrounds us more than ever before. If you want your work to compete in the contemporary soundscape, your audio needs to be original, exciting and contextualised.
Esion Noise began in 2020 as the culmination of a longstanding creative partnership between Lloyd Starr and George Colwey. Each bringing something different to the table, they were prior collaborators on a plethora of projects as composers, engineers and sound artists. With a studio in a converted church in south Bristol, Esion Noise is their creative audio shop front, offering a range of professional audio services including podcast editing, sound design and composition. They take a holistic approach to sound. From the established qualities of music (harmony, melody, rhythm and timbre) to the obscure qualities of noise (texture, atmosphere, impact and motion), they take everything into consideration.
I spent my teenage years playing in an indie-funk-rock band. We were endorsed by Nathan Evans, producer at Zetland Road Studios (home of Massive Attack) which is where I first engaged with audio production. I fell in love with the creative process and proceeded to study audio production, achieving a Ba Hons in Creative Music Technology at Bath Spa University. It was a course centred on creativity, exploring the worlds of avant-garde audio as well as conventional studio production. That’s where Lloyd and I first began working together.
Following University, I worked (and played!) at Clift House Studios; pushing and refining my production/engineering techniques. Nothing beats turning up to the studio with a blank slate and an empty schedule. I’ve always maintained that sense of openness & playfulness when it comes to sound design and composition, it breeds innovation and authenticity. During this period I had my first record published under the U.S label ZamZam records and featured on multiple records as a session player/assistant producer.
Additionally, I’ve worked as a sound recordist, composer, producer, mix engineer and live engineer, working with everyone from independent film-makers to major recording artists such as Howard Jones. My experience across the industry means I take a fully rounded approach to sound, considering everything I can to ensure the idea at the heart of the project is preserved and enhanced by the decisions I make.
I have always had an interest in sound, from making radio shows as a child & mix-tapes in high school to performing guitar in musical projects. I further developed this passion, studying Creative Music at Bath Spa University where I explored acousmatic composition, sonic art and the creation of bespoke instruments. Whether circuit bending children’s toys or coding digital signal processing (DSP) using Cycling 74’s Max/MSP, I was always searching for a unique sound. I used these skills leading an Electro-Acoustic ensemble with whom I live scored several short productions. These include a shadow puppet film titled ‘The Moon’ performed at Bristol’s Dusk till Dawn Festival.
I continue to utilise these skills today by assembling crude oscillating circuits, creating custom signal paths and building my own hardware and software instruments, giving me more bespoke tools for creativity. Sections of my code have been used as teaching materials for The University of Barcelona and have been incorporated into live exhibitions by several audio-visual artists globally.
I have over a decade of experience in various roles across the music industry; studio and live engineer, sound designer, composer and playback engineer. I’ve worked with AAA artists such as AJ Tracey, Fred V and Grafix as well as Kim Wilde and Tony Hadley.