"Director Raine and music supervisor David reached out asking if I was up for scoring a rom-com. I was familiar with Raine’s work in music videos and commercials, we also have mutual friends, but of course had no idea she was working on what became Rye Lane. I was sort of aware of how difficult it could be scoring for this genre of film, but then Rye Lane is such a unique take on the rom-com, perhaps even transcends it. So, they sent me the script along with a mood-board and I instantly said yes; so much about it excited me and made me chuckle. Once I had agreed and had an edit of the film sent to me, to my surprise I found that a fair bit of the temp score was my own older music, which of course made my job a bit easier, re: knowing what they were looking for. It was such a joy and pleasure working with the whole crew and with Raine, who is indeed a true visionary.
When it came to creating the score, I was particularly heavily leaning into the vibrant colour of the picture, the primarily fast, but differing paces of the film and script as a whole and of course South London where it’s set. Was also thinking about late teenagehood/early adulthood and all its awkwardness and intensity of emotions. So it’s heavily syncopated in a lot of places, ramshackle but luxurious in texture. But then in parts it’s also very ethereal, detuned and dreamlike, particularly in moments where the bond between Yas and Dom starts to grow and grow. I’d describe the score overall like sour Fruit Pastilles or Haribo Tangfastics. Sweet, but not too sweet."