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Currently working on:
Timestalker- Alice Lowe, Gen Z- Ben Wheatley

Latest Releases:
Klokkenluider- Neil Maskell, Scala!!!- Jane Giles + Ali Catterall, Meg 2 The Trench- Ben Wheatley

Free Fire Sound Reviews.

I was totally blown away by the fantastic reviews of the Sound Design for Free Fire. Many thanks to everyone who appreciated all the work that went in to the final soundscape.

Free Fire achieves and sustains its sense of carefully orchestrated chaos for nearly a full hour, augmented by aural wizard Martin Paveys intricate sound design. - Variety.

This is one of the best sound-designed films in quite some time, and calls for surround-sound to be truly felt. - cutprintfilm.com

Masterful tracking shots take you into the heart of the action, and they are aided and abetted by Martin Paveys spectacular sound design, which will have you ducking for cover as bullets whizz past your ears. - fandom.wikia.com

Plaudits must go to both cinematographer Laurie Rose who gives us a claustrophobic, almost Western feel, and Sound Designer Martin Pavey, who makes sure we flinch and jump at every shot as the bullets ricochet around the warehouse. - letstalkcinema85

The real MVPs are the sound design team: You won't hear a more lovingly calibrated symphony of pings, pops and pows. - rollingstone.com

Praise be to Wheatleys sound editor and script supervisor: The guns in this movie are loud, powerful and not to be fucked around with. - vanyaland.com

Bullets and dialog whiz through the surround sound and give a special importance to seeing this film in the theater. It is just a delight. - whysoblu.com

There is plenty more to like in the film, including sound editing and design that is absolutely fantastic when you consider how much of a bear it must have been to put together. This whole movie takes place in a large abandoned warehouse and outside of the persistent banging clang of gunfire, the sound is able to deliver a perspective as to where people end up scattered. Its impressive in its unobtrusive nature. - nextprojection.com

What helps this film truly sing is the impeccably mixed sound design. Every gun has a subtle but distinct sound, and it is nice to have a film that knows guns are meant to be LOUD! The most unique use of sound here, though, is how dialogue floats across the entire 360 degree spectrum. Conversations begin on screen, but sometimes move off screen with the dialogue continuing behind you out of the speaker, whilst more dialogue happens in front of you. It is akin to a Robert Altman film laced with extreme violence and cussing. Free Fire becomes truly immersive thanks to this technique, and I cannot stress enough how much this needs to be seen on the big screen. - moviehangover.com

The other thing Free Fire has in droves is gunfire. And not your average Hollywood gunfire that crackles around the surround sound lightly. This is chest-thumping, full-throat gun sound. Heavy, pounding shots that shake your core. Its a brilliant bit of detail work from Ben Wheatley and his sound department, led by Martin Pavey. The kind of attention to detail that elevates the level of consequences that exist within this otherwise flashy, silly situation. Through this accomplishment in making the gunfire feel real (as opposed to simply looking real or sounding real), Wheatley and team add to the consequential nature of whats happening. Sure, Armie Hammer has plenty of charming banter, but when someone pulls the trigger, the audience is given realism with immediacy. - filmschoolrejects.com

Together with DP Laurie Rose, they make great use of this space, ensuring a frenetic feel, but never losing perspective. This is married to superb sound design. The gunfire will get your attention, but how conversations lay over each other, and characters are brought in and out of focus through sound is brilliantly executed. In concert, these elements ensure Free Fire is symphonic chaos unleashed on screen, confirming Wheatley as one of the most exciting British directors working today. - cinapse.com

Martin Paveys sound design plays an important role in setting and maintaining the mood. - thinkingcinema.com

High Rise Sound Reviews.

The films ethereal, 70s-style setting lays a lot of the ground work, but its actually the plethora of beautifully edited sequences and clever sound design which push High-Rise that little bit further. - The Edge.

This thing is dense, wild, hilarious, timelessly prescient, and a feast for eyes and ears. The Film Stage.

"Also, the film deserves some kind of award for featuring the slurpiest blowjob sound effects ever dreamt up in a Foley studio."

High Rise excels in almost every regard from acting to cinematography to sound mixing and composition. - Respawns.com

The visual and sound editing seduces us from the first minutes of the film - Konexcion

Actual acts of violence typically stay just out of frame. We hear the sounds of bones breaking and see the bloody aftermath, but were generally spared the events themselves. - Slate

AAAAAAAAH! premiered to brilliant reviews at Frightfest 2015.
Little White Lies, Hollywood Reporter, The List and Screen Daily all loved it and 86% on Rotten Tomatoes too!
A cult classic in the making.

The Duke Of Burgundy Sound Reviews

Every rustle of fabric is heightened; every frill and soap bubble captured in a plane of focus so shallow you daren't breathe in case you disturb it. The Telegraph *****

Martin Pavey stripped a lot back for the sound mix. We probably put more time and thought into taking sounds away than in constructing anything. We tried to offer something sparse with air to breathe and most importantly, we didn't wish to draw attention to ourselves since sound was not the subject as it was with the previous film. But taking that into account, Martin is a highly inventive one-man show of a sound designer. He does the job of five people on any other film. We don't want to wow people with sound but we want to evoke a strong sense of place and feeling. Peter Strickland Interview.

Strickland is exploring shifting power relations between the lovers. He pays exhaustive, fetishistic attention to texture, sound and touch – the squeak of leather, the rustling of the wind through the trees, the smoothness of the silk lingerie. Independant ****

Much of the story is told by small gestures and by the sound effects. Toronto Star.

A noise from another room suggests something simple, but also very strange. Something very like The Duke of Burgundy, a film far from the ordinary. The Star.com ****

The Duke of Burgundy has stunning production and sound design, creating a world in which all the senses are heightened. Sydney Film Festival.

A Field In England Sound Reviews

One of the films most striking qualities is its address to our ears. In Martin Paveys sound design, everything floats unmoored, dialogue has the same sonic status as the wind or the eerie music. - The Independant

'Sound designer Martin Pavey and composer Jim Williams also deserve special mention for underpinning these ostensibly calm pastoral scenes with a constant undertow of clanging, churning menace.' - The Hollywood Reporter

'Martin Paveys sound design is suitably oppressive..' - New Statesman

'with some of the extreme choices in sound design,we're talking Eraserhead levels of unnerving sonic assault.' - exclaim.ca

'The soundscapes alternately assault and enchant.'- Evening Standard

'fantastic cinematography from Laurie Rose and great sound design and music by Martin Pavey and Jim Williams respectively.'- Nerdly.co.uk

'The sound design and score also perfectly complement these images, combining alarming ambient sounds with distressingly delivered folk songs that would unsettle even the Wicker Man.'- ign.com

'..absorbing cinematography as well as a brilliantly eerie soundtrack.'- sound on site

'stand out sequences and nifty use of sound (the gale section emerging as one of the film's most ingenious moments).'- Moviemandan.com

'the films striking black and white cinematography and jarring aural design only adding to the pervasive sense of foreboding.'- moviemezzanine.com

'the film ...is further augmented by some phenomenal, powerfully intense sound design work.'- viewauckland.co.nz

'a psychedelic barrage of mirrored images, freeze frames and unsettling sound design.'- vodzilla.co

A Field In England Soundtrack Album Reviews

'Where the soundtrack comes into its own is on Side 3 where 'Metallic Fields 1' gets the whole side to itself and is also where the film is turned squarely on its head. Director Ben Wheatley and Sound Designer Martin Pavey really go to town on this track, accentuating the madness within and revelling in the quiet chaos theyre creating.'- 6 days from tomorrow

'The film was made all the more surreal and powerful by the accompanying soundtrack which featured a mixture of original score material by Jim Williams, 'Chernobyl' by Benjamin Power of Fuck Buttons Blanck Mass project, and 'Metallic Fields', a kinetic audio synapse fryer from Wheatley himself and the films sound designer Martin Pavey.'- junodownload.com


'Sightseers' Empire Awards - Best British Film 2013, was released in UK cinemas on November 30th 2012 after rave reviews on the festival circuit. It had a Gala screening at The London Film Festival and was also part of The Directors Fortnight at Cannes. After a successful US Theatrical run, it is now available on DVD and Bluray.

Kill List

'Kill List' was released in 2011 to major critical acclaim and is now available on pay per view, DVD and Blu-Ray. Here are some of the Sound Design related comments from the many positive reviews:

'Martin Pavey's Sound Design is the best since The Exorcist.'

'KILL LIST is a fantastic thriller with stellar performances and sound design. It's been a long time since a film unnerved me so thoroughly.'

'The impressive sound design by Martin Pavey gives everything a brilliantly tense quality, and the smart jump cuts keep even these seemingly simple domestic dramas edgy.'

'KILL LIST - Momentous sound design leads vicious assault on genre staples. Tonal shifts like walking blindfolded through quicksand. Awesome.'

'The growing sense of anxiety in the film is brilliantly filmed and shockingly timed, aided by some unusual sound design which creeps the hell out of you.'

'agree with Mark Kermode about oppressive atmosphere of kill list but what about that soundtrack! Could have closed eyes and still been terrified.'

Martin Pavey's sound design is so unnerving it scared the bejeezus out of our cats!

The Early Years
Martin began his musical career playing bass and drums in various Jazz, Rock and Blues band's around Yorkshire and Kent. Whilst living in Kent he played with many of the Canterbury Jazz set, including members of 'Caravan' and 'Hatfield and the North'.

At the same time as working for a degree in media studies at The University of London, he moved into the strange era of Post Punk, performing and releasing singles with 'Henry's Final Dream', 'The Pocket Spiders' and the now legendary 'Jangletties', through Martin and Pete Millward's 'Eskimo Vinyl' label.

On leaving college, he opened a recording studio in Docklands with business partner Neal Bowhay, 'Silent Music'. Here he perfected his skills producing and engineering records for 'My Bloody Valentine', 'Carlene Carter', 'Julian Bahula' and 'Alternative TV' to name just a few.

His own musical work as a member of production team 'The Federation' led to a deal with Phonogram and a chart single, 'Takin' Umbridge' featuring samples from the much loved radio 4 show The Archers. 'The Federation' went on to Produce several acts in that period through the legendary promoter Charlie Gillett, releasing some seminal Acid and Deep House dancefloor mashing 12"'s, throughout the late 80's and early 90's.

Reel 2

His love of movies led him to compose for several feature and short films including: 'Calamities 13 Step Program For Cowgirl Rebirth', 'Creepy Crawly', 'Jim's Gift', 'Demon Hunters', 'Big Enough For 3', 'Cosmic Brainsuckers' (starring Sir Norman Wisdom) and last but certainly not least 'Cafe d' Paris' starring Sara Dee, which premiered at the Cannes Film Festival.

Whilst working on the film "Calamity", Martin met Video Artist Ulrike Kubatta. That chance meeting has been massively productive with 5 subsequent films and video installations to their credit. Most recently the award winning, Arts Council Funded documentary 'She Should Have Gone To The Moon', the story of the 'Mercury 13' female astronauts. visit www.sheshouldhavegonetothemoon.com
They are currently in production with Ulrike's brand new film "Dream Soldier". Here's Dream Soldiers Facebook page link

Martin's first job in Television was with pioneering satellite channel 'Screensport' and it was here he met documentary maker Chris Purcell. Subsequently their long standing collaboration has led to a raft of award winning Films and TV Spots including "Mini Mania", "Dambusters, the true story" and "Vulcan, last of the V.Force". They have provided Channel Branding, promotions and content for Discovery Channel and Animal Planet and big budget Advertising campaigns for Star Alliance airlines and the Malta Tourist Board in association with National Geographic Channel. Martin has also had a long standing working relationship with the 'Virgin Media' group of TV Channels, 'Bravo', 'Living', 'Trouble' and 'Challenge'. Over the years he has scored and mixed hundreds of Promotional spots for them, winning many 'Promax' awards for best use of sound and music.

The anarchic comedy duo 'Gawkagogo / Brand X Productions' invited Martin to score and mix for them from their first Edinburgh Fringe show. Their unique blend of showmanship, miming, bad taste and cardboard is perfectly complimented by Martins Music and Sound Design Skills. Successful shows include: 'Gawk', 'Tiny Mo's Big Time Cabaret', 'Gawk A Gogo', 'Vega$m' and the critically acclaimed 'Die!', which played to packed houses at The Pleasance in Edinburgh and The Riverside Theatre London. This fruitful and excitingly original working relationship is still mutating, with recent 'Gawkagogo Freakshow' festival appearances at Glastonbury and Lattitude festivals and a sell out show at The Lowry Theatre in Manchester. The mighty Gawkagogo go from strength to strength, As their 'Elephant Man Elvis' character would say: "Thankyou very much, Sluuurp!"

Onward and Upward

In 2007 a new and very fruitful relationship with Boum Productions, (Producer Andy Starke and Producer/ Writer Pete Tombs), began with the feature film "Zibahkhana" or "Hells Ground" to its US and UK audience. This Slasher flick directed by Omar Khan, was the first gore film ever to come out of Pakistan and won masses of Festival awards and Best Film at Fantastic Fest. Martin provided all the necessary gurgling, sloshing and slashing sound in full 5.1 Dolby surround. In 2008 it played to packed houses in Islamabad's main cinema, alongside 'Indiana Jones and the Kingdom of the Crystal Skull', Weird but wonderful.

2008 also saw Martin's own directorial debut, the 15 minute epic 'Flash Back'. Building on his directing success of the award winning ITV Cobra Beer Idents "Gent & Gypsy" and "Practice Takes Perfect", Martin branched out into slightly longer form for 'Flash Back', a glossy tale of love and loss, with a strong central performance from Sara Dee and a surprising twist in its tail. Featuring Music, Sound Design and Directing from Martin, the film gained accolades from many industry luminaries and was selected for competition at 'The Wifts' Film Festival in downtown Hollywood U.S.A. no less.

The Boum/ Rook Films story continued in 2009 with the even more massive "Down Terrace", directed by Ben Wheatley and produced by Andy Starke in association with Baby Cow Productions. Again mixed and designed by Martin in Dolby 5.1, it swept the board at Festivals winning best film at Raindance, The BIFA"s and Atlanta. It was snapped up by giants Magnet Releasing in the States.

Ben Wheatley's second feature 'Kill List' was released in 2011 with Martin as Supervising Sound Editor and Sound Designer.

Watch this space.

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