Andrew Phillips is a composer for film and television, and an acclaimed artist and producer in his own right.
Winning an Emmy® in 2019 for his score for Stolen Daughters: Kidnapped By Boko Haram (HBO), nominated for a BAFTA in 2020 for War In The Blood (BBC2), Andrew also scored Oscar-nominated Watani My Homeland in 2016 (ITN), and was nominated for an Emmy for his score for The Battle for Marjah in 2013 (HBO). Over the last ten years he has also written, produced and performed four critically acclaimed albums as part of the duo Grasscut.
A full list of credits can be found at IMDb.
Images of Glasgow swirl to a well-judged score by Andrew Phillips as Ferguson’s story swims into view. Screen Daily
Nail Bomber: Manhunt… tackles its chosen subject with taut efficiency and restraint, aided by Andrew Phillips’ nerve-wracking score. The Daily Beast
A city at night, artfully filmed from above, with a moody and powerful score. It might be Copenhagen – actually, it’s Manchester. The Guardian
They have created a new kind or mirror, one that synthesises us into animated and illuminated essence, which is actually very poetic, greatly enhanced by the excellent musical score composed by Andrew Phillips. Total Creative Freedom
Eerie, and utterly compulsive Irish Times
As a rapprochement between the unnecessarily divided worlds of electronica and ‘proper’ music it is a complete success. Absolutely lovely The Arts Desk
Epic and immersive Uncut *****
Delightful and unique Mixmag *****
The final cries of “still here, after” at the end of ‘Red Kite’ tie up the record’s longing nicely and speak to the permanence of ‘Home’. Let’s hope they also speak to the longevity of Grasscut, because by doing more with less, ‘Everyone Was A Bird’ soars. The Quietus
‘It’s not the symbol, but the scene’ sings Phillips on ‘Radar’, and the most affecting thing about this inspiring album is that sense of feeling the now. The Wire