Eric Phillips is a composer, sound designer, producer and multi-instrumentalist originally from Boston, Massachusetts. He began the composing portion of his career working under veteran composer Mark Orton, best known for his long-standing collaboration with legendary auteur filmmaker Alexander Payne (Nebraska, Oscar-winning The Holdovers). Since then, Eric has done sound design & composed music for numerous feature films, documentaries, shorts and video games. Recent credits include Higher Ground and Concordia Studios' Netflix docuseries Working, What We Do All Day starring Barack Obama, Crooked Media's Dreamtown (Tribeca 2023), Jan Haaken's award-winning documentaries (Including Our Bodies Our Doctors), and the feature film 12 Mighty Orphans. He also assisted on Payne's Oscar-winning The Holdovers. Eric has also written music for major podcasts that have won Emmys, and Ambies for folks including Bad Robot, Crooked Media, Spotify, New York Times, Pushkin, Apple, Pineapple Street and more, and has designed sound for indie games including PigSquad's Pond Water. In parallel with his scoring work, Eric performs and releases music under the moniker Kennebec, a genre-defying cinematic chamber-folk ensemble serving as a creative laboratory for Eric's most uninhibited ideas. Through Kennebec, he has collaborated with modern indie, jazz, pop, and classical luminaries including Samuel T. Herring (Future Islands), Miguel Atwood-Ferguson, Sudan Archives, Yazz Ahmed, Alfa Mist, and Joe Armon-Jones. He has also shared stages with Arooj Aftab, Kevin Morby, Joep Beving, and Minus the Bear, and performed at festivals such as PDX Jazz and South by Southwest. Drawing from both classical training as well as his time producing and performing with his own experimental groups, Eric moves fluidly between crafting thematic scores for large orchestral ensembles, designing sonic worlds from field recordings and electroacoustic textures, and self-producing novel performances from his ever-growing collection of instruments from around the world, from 1920s-era guitars to waldzither, pump organ, charango, autoharp, banjo, Rhodes, ngoni, gusli, dobro, and tape machines. Outside the studio, he likes to spend his time hiking, collecting field recordings and testing new ways to make his partner Emily laugh. Recent favorites have included Pluribus, Clair Obscur, Lincoln in the Bardo and Paris, Texas.…Eric Phillips is a composer, sound designer, producer and multi-instrumentalist originally from Boston, Massachusetts. He began the composing portion of his career working under veteran composer Mark Orton, best known for his long-standing collaboration with legendary auteur filmmaker Alexander Payne (Nebraska, Oscar-winning The Holdovers). Since then, Eric has done sound design & composed music for numerous feature films, documentaries, shorts and video games. Recent credits include Higher Ground and Concordia Studios' Netflix docuseries Working, What We Do All Day starring Barack Obama, Crooked Media's Dreamtown (Tribeca 2023), Jan Haaken's award-winning documentaries (Including Our Bodies Our Doctors), and the feature film 12 Mighty Orphans. He also assisted on Payne's Oscar-winning The Holdovers. Eric has also written music for major podcasts that have won Emmys, and Ambies for folks including Bad Robot, Crooked Media, Spotify, New York Times, Pushkin, Apple, Pineapple Street and more, and has designed sound for indie games including PigSquad's Pond Water. In parallel with his scoring work, Eric performs and releases music under the moniker Kennebec, a genre-defying cinematic chamber-folk ensemble serving as a creative laboratory for Eric's most uninhibited ideas. Through Kennebec, he has collaborated with modern indie, jazz, pop, and classical luminaries including Samuel T. Herring (Future Islands), Miguel Atwood-Ferguson, Sudan Archives, Yazz Ahmed, Alfa Mist, and Joe Armon-Jones. He has also shared stages with Arooj Aftab, Kevin Morby, Joep Beving, and Minus the Bear, and performed at festivals such as PDX Jazz and South by Southwest. Drawing from both classical training as well as his time producing and performing with his own experimental groups, Eric moves fluidly between crafting thematic scores for large orchestral ensembles, designing sonic worlds from field recordings and electroacoustic textures, and self-producing novel performances from his ever-growing collection of instruments from around the world, from 1920s-era guitars to waldzither, pump organ, charango, autoharp, banjo, Rhodes, ngoni, gusli, dobro, and tape machines. Outside the studio, he likes to spend his time hiking, collecting field recordings and testing new ways to make his partner Emily laugh. Recent favorites have included Pluribus, Clair Obscur, Lincoln in the Bardo and Paris, Texas.WWWW…