ABOUT

James Cox is a British composer working across film, television, and games, known for emotionally driven scores that fuse acoustic performance with experimental sound design. His work is rooted in story and character, often sitting in the space between traditional orchestration and more textural, contemporary approaches — a balance that has made his music particularly well suited to horror, thriller, and psychologically led narratives.

James has scored a wide range of projects, from independent features to international media productions, with music featured on films premiering at festivals including the London Independent Film Festival, as well as projects for CBS, NBC, and Roblox. Directors frequently return to James for his ability to translate narrative tension and emotional subtext into immersive, distinctive sound worlds — an approach that led to his invitation to join BAFTA Connect in 2024, recognising his growing contribution to screen storytelling.

Two people working at a computer desk in a room with musical instruments and framed pictures on the wall.

Genre, Atmosphere, and Collaboration

While much of James’s recent work sits within horror and thriller, his interest lies less in genre convention and more in atmosphere, restraint, and emotional realism. Whether scoring psychological horror, ghost stories, or character-driven drama, his focus remains on creating music that feels embedded in the film’s internal logic — supporting tension without overwhelming it.

James is known as a highly collaborative composer, working closely with directors and producers from early development through final mix. This process-driven approach has made him a trusted creative partner for filmmakers seeking scores that feel intentional, story-led, and tonally precise rather than generic.

Alongside his screen work, James is also an experienced arranger and orchestrator, having worked with artists and ensembles including Ena Fay, Rooftop Collective, and E3 Productions.

A person with glasses playing a keyboard piano in a dark setting with blue lighting.

A Composer Led by Story

Classically trained as a pianist and clarinettist, James began his musical life as a chorister before studying music at the University of Chichester. This foundation in classical and ensemble writing continues to shape his approach, even as his work embraces hybrid scoring techniques, sound design, and contemporary production methods.

Rather than relying on a fixed musical identity, James approaches each project as a blank slate — building bespoke musical palettes that respond directly to character psychology, setting, and narrative pressure. His scores often combine small string ensembles, piano, and live instrumentation with manipulated textures, electronics, and found sound, allowing the music to move fluidly between intimacy, tension, and unease.

This approach has led to acclaimed work on films such as Six Years Gone, The Killing Tree, Fright, Popeye’s Revenge, Mega Lightning, and The Bigfoot Trap, as well as ongoing collaborations across film, games, and production music.

Four young adults in a recording studio, three men standing behind a woman seated in a rolling chair, surrounded by sound equipment and speakers.
Four men standing together at an event with a background displaying logos for Maize & Grace, CloudConnex, Sussex Film Festival, and other organizations. They are smiling, with three wearing conference badges around their necks.

Ongoing Work

James continues to score feature films for UK and international production companies, alongside ongoing work in games and production music. He remains focused on long-term creative relationships and projects that value craft, narrative clarity, and distinctive sonic identity.