Walter Mair

Credits include: Liaison (Eva Green), Till Death (MeganFox), Lost River (Ryan Gosling), Call of Duty – Modern Warfare III, Squid Game (Netflix) , Grand Theft Auto. Voting member of BAFTA and The Ivors Academy.

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Walter Mair is an Ivor Novello-nominated and Telly Award-winning composer known for his captivating scores ranging from epic orchestrations recorded with 80-piece choirs to intimate, small ensemble and hybrid electronic pieces that have graced a diverse mix of feature films, documentaries, television dramas,

narrative-driven interactive entertainment and video games. In 2023 Walter scored the action thriller The Bricklayer, starring Aaron Eckhard and Nina Dobrev, and directed by Renny Harlin. The thriller Infinite starring Asa Butterfield, Tanya Reynolds and Robert Sheehan premiering at Cannes Film Festival 2023.

Selected Music

More about Walter Mair

Walter believes that the main principle of creativity is to come up with genuine sounds, and he enjoys experimenting and creating unique sonic worlds for each of his projects, using his extensive collection of analog digital synths and blending live orchestral arrangements with experimental post-recording techniques.

Selected Awards



Whether it was characters being chased or mercenary Cassel and agent Green in a romantic embrace, Mair built subtle, lush musical themes and noise-filled ambiance that could turn on a dime in accordance with whatever tragedy or violence might befall them.

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Mair’s score uses a ridiculous range of organic and electronic sounds, deriving its unique audio from “tons of vintage and analogue effects”, “modular synths” and, er, seashells.

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The composition and execution fit the series perfectly, but the score retains a distinct character and voice that elevates it in a rare feat of complementary memorability.

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The unique Contra-Hurdy he uses in the score is what he calls a “Frankenstein instrument” that combines the mechanics of a hurdy gurdy and the corpus and strings of a large contrabass. The combination of the two can twist and distort sounds depending on how fast he moves the mechanical parts to produce dark, low-end tones – ideal for this foreboding score.

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It creates these really interesting overtones and it’s such an amazing thing that I’ve never heard before – it’s just one of these Frankenstein instruments.

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Mair invites us into his London studio that’s packed with instruments and machines to show off his custom-made “Frankenstein instrument”, and to elaborate on his strive to find and create sounds that have never been heard before.

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