Coming from a mixed creative background, I approach song selection with as a narrative-led process.
Feeling-first curation with commercial instinct.
I offer freelance music research, soundtrack consultation and alt-track support for projects that demand precision and emotional intelligence.
I started my career in photography before then moving into a creative role in the fine jewellery sector. In my time there, I’ve developed projects from their initial concept through to expansive multi-channel campaigns that are shaped by considered storytelling and a sharp visual language. I’ve also focused on refining brand identity and looked for new ways to push it further. Over time, this has evolved into new sonic spaces which use music to deepen immersion and connection.
I am now expanding into music supervision and sync research, building speculative rescoring projects and musical concepts that explore pacing and tone, as well contextual and narrative alignment. I enjoy the challenge of working on something unexpected, but I’m particularly interested in work that feels culturally-driven, from independent film to fashion and contemporary music culture.
Alongside creative judgement, I bring experience in managing projects and small teams, interpreting complex briefs, and weighing up creativity against commercial constraints and brand objectives. Instinct is important, but clarity is too. I translate both into practical, considered decisions, and communicate them convincingly.
Approach
Whether I’m working on sound or picture, I aim to create something that feels timeless and not trend-led. I’m interested in coherent, but playful world-building and authenticity, those qualities which can give depth and individuality to a project while ensuring it’s built to last.
I am now expanding into music supervision and sync research, building speculative rescoring projects and musical concepts that explore pacing and tone, as well contextual and narrative alignment. I enjoy the challenge of working on something unexpected, but I’m particularly interested in work that feels culturally-driven, from independent film to fashion and contemporary music culture.
Get in Touch!
(2018 - 2021) BA (Hons) Commercial Photography - Arts University Bournemouth
(2022 - now) Senior Creative - Cassandra Goad
Email: rory@rorycogavin.co.uk
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I started my career in photography before then moving into a senior creative role in the fine jewellery sector. In my time there, I’ve developed projects from their initial concept through to expansive multi-channel campaigns that are shaped by considered storytelling and a sharp visual language. I’ve also focused on refining brand identity and looked for new ways to push it further. Over time, this has evolved into new sonic spaces which use music to deepen immersion and connection.
I am now expanding into music supervision and sync research, building speculative rescoring projects and musical concepts that explore pacing and tone, as well contextual and narrative alignment. I enjoy the challenge of working on something unexpected, but I’m particularly interested in work that feels culturally-driven, from independent film to fashion and contemporary music culture.
Alongside creative judgement, I bring experience in managing projects and small teams, interpreting complex briefs, and weighing up creativity against commercial constraints and brand objectives. Instinct is important, but clarity is too. I translate both into practical, considered decisions, and communicate them convincingly.
Rescores
The Worst Person In The World
(Film, 2021) Timeless lyrical storytelling vs. subtle instrumental support.
Two alternative musical approaches to the ‘World at Still’ scene from The Worst Person In The World: one led by lyrical storytelling and contrast between Julie’s relationships, the other driven by physicality, repetition, and momentum. Both aim to preserve the scene’s emotional ambiguity while prioritising music that’s led by the scene rather than imposed on it and editorial flexibility over obvious emotional signalling.
Good Time
In this dialogue-heavy, memory-fragmented cut from the Safdie brothers’ Good Time, alternate approaches to scoring a scene which is dense and complex, not just in terms of its sound design, but also its narrative and cinematography.
The aim was not to attempt to mirror the film’s original electronic score, instead focussing on the anxious momentum and pressure it built, and translating that into new musical spaces.
(Film, 2017) Building tension in a scene with dense and complex sound design.
(Ad, 2023) Letting voiceover carry weight, while the music focuses on balancing optimism with reverence.
The original campaign is emotionally strong with personal, real-world imagery and is led by a powerful voiceover. This rescore approach steps back, allowing the voiceover to carry the weight, while the music reinforces Cancer Research UK’s more modern and optimistic tone. The focus was on finding cues that feel authentic and distinctive, sit comfortably in a commercial context, keep pace with the campaign’s dynamic editing and use familiar musical language without veering into a generic sound.