The Jennings family couldn’t be more painfully suburban, but when asshole Uncle Frank crashes their weekly Sunday dinner with a nasty surprise, murder ends up on the menu.

This hilarious and gory comedy-horror has been delighting audiences and scooping up awards, including a Canadian Screen Music Award for Best Music for a Narrative Feature.

Adrian worked with co-composer Nick “Walker” Grimshaw (Dear Audrey, Mother Father Sister Brother Frank) to create the eclectic score – Director Caden Douglas wanted “the sound of a family bluegrass jam band playing in the kitchen” – which had to satisfy both the comedic and horror elements. The score features virtuoso fiddler John Showman, along with everything from guitars to junk percussion.

The Cloudy Falls residence is a kitschy, run-down apartment complex in Niagara Falls that seems destined to be torn down. This is the story of a handful of its tenants as chosen at random by the building’s glib superintendent.

Featuring an ensemble cast that includes Grace Glowicki , past winner of the Sundance special Jury prize for acting, Joshua Allan Eads aka Ginger Minj, popular star of multiple seasons of RuPaul’s Drag Race, Brennan Clost of Netflix’s Tiny Pretty Things and Susan Berger from the Emmy nominated series Jury Duty.

Adrian worked with co-composer Nick “Walker” Grimshaw (Dear Audrey, Mother Father Sister Brother Frank) to create a lush, romantic, hazy retro-Trad-Pop score full of reverb washed guitars, Capitol Records-era strings, woodwinds, and doo-wop vocals. 

“Creepy Bits” has garnered critical acclaim and captivated audiences with its innovative approach to horror storytelling. Season 2 of the anthology series delves deeper into the darkness, drawing inspiration from contemporary issues while venturing into uncharted territories of fear. Creator/director David J. Fernandes and his Season 2 team of diverse writers/directors include Ashlea Wessel, Adrian Bobb, Kelly Paoli, and Sid Zanforlin.

“This season focuses heavily on our relationship to nature and each other and aims to wipe the smirk off the friendly Canadian wilderness myth and show it for what it really is: absolutely terrifying.” says Fernandes

Adrian worked with co-composer Lodewijk Vos (See For Me, The Slow Hustle) recording his innovative instrument, The Flying Dutchman. They recorded hours of material, including strings, friction mallets played on ancient zithers and more, creating horrifying textural, experimental sounds that were further augmented with modular synths and boutique effects pedals. 

Shot in two true single takes, filmed simultaneously in two different parts of a city, Last Call, is a real time feature presented in split screen showcasing both ends of a wrong number phone call that has the potential to save a life.

The film received a 2 minute standing ovation during its West Coast premiere at Dances With Films in L.A.  The score was lauded by critics and viewers alike.  To match the approach and aesthetic of the film, a string quartet was recorded live, in front of an audience at the Chrysler Theater in Windsor ON and presented as a single take.

“The full house was moved by a score which soared… the feeling in the room was electric… Last Call should be seen because its unique storytelling is a selling point of its own. Powerful and unique, Last Call is at least that, but it just may live forever as a piece of cinema history.”  10/10 – Curt Wiser, OC Movie Reviews

“[the] conundrum of unified time and action but disunified space gives it a distinctly cinematic character that’s devastating in effect, reminding us that no matter our sins or circumstances, we’re all just human. Here is a true miracle of humanist filmmaking.” 9/10 – Nate Hood, Unseen Films

The score was awarded Silver for Best Music – Feature Film at the Queen Palm International Film Festival

In the dead of winter, a musician travels to a remote cottage to work on new material but soon finds herself under attack from a mysterious dark presence.

The score for this slow-burn, art house thriller was composed entirely using the human voice, using layers of both lead actor Teaghan Johnston and myself, as well as a 16 piece choir. Director Ryan Glover wanted to use the music and individual voices to help outline Johnston’s character against the malevolent spirit that haunts her, and the choir embodies the dark forces that threaten to pull her into madness.