IN THE WILD
The stories behind some of our favorite placements
Scoring the first look for Hence
The project
We were approached by a badass filmmaker team known for their epic outdoor work to create the music for the launch video of their new venture: Hence. It was their hero piece — the first thing people would see when visiting their homepage, introducing the brand to the world.
The brief
Hence is a social platform designed to bring together athletes, production teams, and the brands that support them — a new kind of space where filmmakers, athletes, and clients can connect directly, with fewer layers and more creative control. Big vision. Big responsibility.
This was the first time either of the producers had hired composers, and our first draft missed the mark. We had made the athletes the heroes — but what they actually wanted was to spotlight the filmmakers: the people in the water with big wave surfers, under massive dirt jumps, or filming in six feet of powder during a snowstorm. Once we talked it through, everything clicked.
Our approach
With some great back-and-forth — and references to Whiplash and Birdman — we scrapped the original idea and built a new score from the ground up: layers of jazz drums and percussion that created a controlled chaos, echoing the insane conditions these filmmakers go through to get the shot. Urgent, unpredictable, and locked-in — just like the work it was made to honor.
The result
We nailed the brief on the second pass, and the team was thrilled. So much so that they published a blog post encouraging other producers to consider working with composers instead of defaulting to stock music — which we also do, and aren’t opposed to, but still… it was cool to see the process itself become part of the story. Everyone left the project stoked, and we’d work with them again in a heartbeat.
Synths, heartbreak, and throwing up in Lisa Frankenstein
The project
We were commissioned by Warner-Chappell to write a full album of original 80s-inspired songs. As lifelong new wave obsessives who grew up in the thick of it, we couldn’t say yes fast enough.
The brief
Make it feel real. Not just retro-for-the-sake-of-retro — we wanted it to hold up next to the actual stuff. So we dove deep: studying the gear, the lyrics, the drum programming, and the attitude. Then we got to work.
Our approach
We challenged each other with fake 80s song titles and wrote lyrics from there — Pac Man Cake turned into Love Maze, and we couldn’t resist references to the artist Partrick Nagel with Sunglasses and Leather. It was equal parts tribute and time machine.
We used vintage synths, classic drum machines, and plenty of drama. It’s over the top in all the right ways.
The result
The album has found a life of its own — with syncs all over the world, including Univision’s El Gordo y La Flaca, multiple ads, and most recently a placement in the feature film Lisa Frankenstein (directed by Zelda Williams and starring Kathryn Newton and Cole Sprouse).
Our track Malibu Sunrise plays during a party scene that ends with the lead character vomiting. Peak 80s vibes.
A surprise cameo on Adult Swim
The project
If you’ve ever stayed up late watching Adult Swim, you know those weird, wonderful interstitials they play — a still image or a strange quote with some really good music underneath. We’re big fans. So it was a full-circle moment when a few of our tracks showed up in the mix.
The brief
There wasn’t one — these tracks were never made for Adult Swim. In fact, they were some of our earliest work: short, playful vignettes we made for fun. But somehow, they found their way into the right hands.
Our approach
The tracks Seesaw and Falling Asleep were both simple and melodic — a little dreamy, a little strange. Built with curiosity, not a client brief. Which might be why they worked so well in that context.
The result
Seeing our music slip into those surreal late-night breaks was a reminder that you never really know where a piece will end up. Also, it’s just objectively cool.
The track that Keanu played
The project
In 2015, we got a last-minute brief from Directional Music about a secret film project — no title, no details, just a request for a funky track “in the style of Bill Withers.” We had a weekend to turn it around.
The brief
They wanted something raw, soulful, and groovy — like an old funk 45. We didn’t have much time, so we did what we do best: hit record and followed the feel.
Our approach
We knocked out two demos in two hours — live drums, Fender Rhodes, a funky bassline, some scratchy guitars, and layered percussion. Loose and live. No polish, just pocket.
The result
Months later, the agency told us the track had been placed in Knock Knock, an Eli Roth film starring Keanu Reeves. In the scene, Keanu plays an aging architect who used to DJ, and he drops the needle on our track to show some younger visitors what real soul music sounds like. It’s surreal — and pretty amazing — to watch him spin a record of a tune we threw together in an afternoon.
Timber meets Man United
The project
Manchester United needed music for a promotional video supporting their Blue Run — a fundraising event that brings together fans, families, and community in a colorful, high-energy celebration. The video was produced for the Premier League’s official platform.
The track
They landed on a track from our album Suburban Daydreams, available through our amazing sub-publisher Amphibious Zoo. The song is an electro-pop banger with a bright pulse and cinematic lift — built for momentum, optimism, and good vibes.
The result
We think the track was a perfect fit. It carried the energy of the edit without getting in the way — upbeat, polished, and driving the story forward. A perfect match for a legendary club doing good in the world.
“Glory, Glory Man United!”
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More from our catalog at Amphibious Zoo
Green Smoothie for Making It
The project
We were brought in by Burnett Music to write a track for NBC’s Making It, hosted by Amy Poehler and Nick Offerman. The show is a celebration of creativity, craft, and lighthearted competition — and the music needed to feel just as fun and handmade.
The brief
They wanted something whimsical, acoustic, and a little offbeat — nothing electronic, just real instruments with real charm. Think indie orchestral meets DIY percussion, with room for quirk and personality.
Our approach
We wrote Green Smoothie, a “twee” little jingle inspired by one of our musical heroes, Mark Mothersbaugh. It was built around acoustic instruments, playful rhythms, and small details that felt lovingly homemade — the musical equivalent of a hot glue gun and a glitter bomb.
The result
It turned out to be a perfect fit for the tone of the show. Catchy, weird, and full of heart — just how we like it.