SpectreVision Music Management: Tim Husom
As President of SpectreVision Music Management, Tim Husom believes that film fans and concert audiences alike are primed for a modern era of electronically infused classical music. The Music Management enterprise is a division of SpectreVision; the horror specific film venture founded by actor Elijah Wood and directors Daniel Noah and Josh C. Waller.
“We launched SpectreVision Music as an effort to bridge the gap between movies and the bold new sounds coming from the vanguard of neoclassical composers releasing records around the world,” explains Husom. SpectreVision’s roster features the genre’s leading creators, among them Jóhann Jóhannsson, Dustin O’Halloran, Hauschka, Kreng and A Winged Victory for the Sullen––distinguished composer-artists who, in addition to scoring films, also concertize, tour and record.
Following stints at Handsome Boy Records / Swell Management, Hudsom was with Emperor Norton Records where he shepherded projects including the Lost in Translation and The Virgin Suicides soundtracks. After a successful stint at Rykodisc (prior to its sale to Warner Bros.), Hudsom launched Redbird Management representing independent artists including Ladytron, Great Northern, Nicole Morier and Sea Wolf. “It was a shifting era, when people began getting their music for free,” he recalls.
Along with his client Dustin O’Halloran, Hudsom devised a new archetype: music for film coupled with a full spectrum of creative musical outlets. “We looked at Dustin’s model: he had released a solo piano record, recorded with his band, Devics, and would tour regularly. He was also producing a record for an Italian band plus scoring music for advertising and music for films. So even though at the time income was down from sales, across the board he was really working. And it was fun.”
Husom says the company is gaining traction. “We believe that there will be more trust in the boardrooms, that it is okay to not go with the traditional scoring approach and to let the composer have his or her fingerprint on the score. Our goal is that over time the composer clients will bring quality music to pictures, and present different types of scores that will have international recognition. We have the chance to introduce a new breed of composer who will create a sea change in the way movies sound.”
Moving from the music business model into film music, Husom says that the economics are far different. “In the film world, people are willing to take big chances with certain parts of their budgets to make sure they get things right. In the music business if you’re not a huge pop star, you don’t have that option. For example, if you do a photo shoot they give you $500 and if the results are not good, you have to use it. In film, if they need you to go in and do another orchestral session they’ll come up with the budget. There is an attention to perfection that exists in the film business. As a DIY music guy it’s nice to be around a situation to make sure it’s done right and that there is that passion.”
Contact Tim Husom, SpectreVision Music Management,
