Rhian Sheehan is an award-winning music producer and screen composer from New Zealand. Known for his fusion of atmospheric-post-rock with electronic and chamber music, he has released 6 albums and 2 EP’s on Loop Recordings (NZ/Aus), Darla (US), Preco (Japan). His 2013 release Stories From Elsewhere has received much praise; renowned US reviewer John Diliberto (Echoes) calling it “a modern ambient chamber music masterpiece of quietly epic dimensions”.
His work as a screen composer is diverse, actively writing scores for a wide variety of film, television, documentary, advertising, multi-media exhibits, and 360o Fulldome Planetarium dome show projects around the world. Having worked on projects with luminaries including Tim Allen, David Tennant, Martin Scorsese, Rupert Grint, Andy Serkis and Jared Leto. He has written music featured on many notable TV shows and channels, including Top Gear (UK), the hit HBO series Silicon Valley, BBC Horizon, CNN, National Geographic Channel, Discovery Channel, History Channel, America’s Got Talent, and has written music featured during The US Super Bowl, and The Academy Awards.
Sheehan has composed music for various multimedia installations and exhibits around the world, including UK’s National Space Centre, The Kennedy Space Center, London’s Natural History Museum, Ferrari World, World of WearableArt , and Weta Workshop. His score for the 12-part prime-time series The Cult won him a Qantas Film & TV Award (Best original music in a TV series), and he also wrote the score for the Emmy Award winning series Reservoir Hill. Sheehan’s music was used extensively during NBC’s prime-time coverage of the 2012 London Olympics, and he has written music featured in a variety of commercials, including spots for Google, Nike, GoPro, American Express, Sony Pictures, Universal Pictures, and Facebook. He has written for Hans Zimmer’s custom music company Bleeding Fingers and Extreme Music. More recently Sheehan wrote and produced the score for the acclaimed feature-length documentary film Belief: The possession of Janet Moses.
He has written scores for numerous UK and US produced 360o Fulldome 3D Planetarium shows, most notably, We Are Astronomers, We Are Aliens, We Are Stars (for which he was awarded Best Original Score at the Fiske Planetarium Awards), and Back To The Moon For Good, which was produced by Google XPRIZE, the UK National Space Centre, and Robert K. Weiss (producer of The Blues Brothers). Narrated by Tim Allen (Toy Story), Back To The Moon For Good is one of the most popular and watched Planetarium Dome shows ever made; having screened in over 450 Planetariums around the world.
Press reviews for Live At The Wellington Opera House (2015):
“The whole album is a wish you were there moment, where the audience is so mesmerised you could hear a pin drop before the bursts of applause that signal the spell has been broken momentarily.” – The Sunday Star Times (★★★★★)
“In a truly magical way his music is a form of classical/instrumental that works in front of a crowd more likely reared on rock and dance musics. And this was a stunning show at the time and brings with it happy memories in listening again.” – Simon Sweetman (Blog On The Tracks)
Press reviews for Stories From Elsewhere (2013):
“Stories From Elsewhere is a modern ambient chamber music masterpiece of quietly epic dimensions.” – John Diliberto (Echoes)
“The album transitions effortlessly between moments of elation, reflection, melancholy and serenity, creating in the process a unique world all of its own, almost as visual as it is aural.” – Joel Little (Lorde writer/producer)
“I cannot recommend Stories From Elsewhere enough… Sheehan is an unstoppable force.” RIP IT UP (★★★★★)
“Stories From Elsewhere contains so much heart and soul. It has the power to blow you away.” – Simon Sweetman (The Dominion Post)
“An enchanting and high-quality collection of genre defying instrumental works.” – Textura
Press reviews for Standing in Silence (2009):
“This is Rhian’s breakthrough album, his grand cinematic excursion, overwhelming with crushingly beautiful yet daring emotion… Accomplished, evocative and sustained… the finest release I’ ve had the privilege to review this year.” – The Silent Ballet, USA
“A masterpiece, a five-star album; something every New Zealand home should have … it almost qualifies as a religious experience” NZ Musician Magazine
“A stunningly static, beautifully textured, listening experience… it devours and envelopes you.” NZ Herald
“Spine tingling… a tsunami of sound. Sheehan, take a bow, you’ ve nailed it.” The Dominion Post (★★★★★)
“Superbly lush soundscapes with truly off-the-charts production value.” Rip It Up
“A big, bold, beautiful album, exquisitely epic and happy to wait for you to discover it.”
North & South Magazine
“Guarantees a fulfilling state of reflection… finally climaxing in an euphonious tone.” Groove Guide
Awards and Nominations:
Finalist “Best Score” Revolution Me Film Festival (New York) for “Los Angeles 1991” (2016)
Winner “Best Soundtrack” Fiske Fulldome Film Festival for “We Are Stars” (2015)
Winner “Best Original Score” – Qantas Film & Television Awards (2010)
Finalist “Best Animated Video” – Animate Festival 2009 official selection (Director) for “Standing in Silence Pt3” (2009)
Finalist “Best Electronic Album” – B-Net New Zealand Music Awards (2005)
Finalist “Most Outstanding Musician” – B-Net NZ Music Awards (2005)
Winner “Best Animated Video” – Young Guns International Video Awards (2004)
Winner “Best Video” – Handle The Jandal Music Video Awards for “Waiting” (2002)
Finalist “Best Electronica Album” – B-Net NZ Music Awards (2002)
Finalist “Best Electronica Album” – New Zealand Music Awards (2002)