India-born, UK-based composer Cephas Azariah has unveiled the captivating second single from his highly anticipated debut project, “Joy Paradox”, released through the emerging label Anjunadeep’s refined downtempo imprint, Reflections. A rising luminary in the world of composition, Cephas has meticulously crafted an impressive portfolio, scoring for Channel 4, Puma’s Thierry Henry-backed campaign, and numerous critically acclaimed films. His latest creation, “Contours”—a piece exquisitely written for ballet—highlights his remarkable ability to blend lush, intricate instrumental arrangements into a composition that is both sonically rich and emotionally resonant.
Listen to the track…
In discussing the track, Cephas reflects, “Dance is the ultimate companion to music where body language converses with what it hears. Susanne Langer says dance is the notable movement between two markers which perfectly describes the song itself, placing value on the journey and the process rather than the start or end.”
We caught up with Cephas to delve into the creative process behind “Contours,” his aspirations for how listeners will deeply engage with his music, the challenges of adapting his unique sound for dynamic collaborations, and the eagerly awaited release of his debut album.
Hey Cephas, congratulations on your latest single! Could you share your creative process for the track?
So, most of this project was written during my stay in the Lochs of Scotland. I often retreat to mountains & lakes to get inspired. I just find so much clarity in those places. Contours is mostly piano and cello but it has many layers interwoven to create a complex flow of sounds. There’s a romantic bowing technique where my cellist Weslley slides from one note to the next which is a headline feature. The song is written for dance, specifically ballet so I wanted to relate to the dancer and how they move. The piano ostinato at the start sets the scene and the cello is the “dancer” simulating the movements.
What narratives, themes and emotions are you aiming to convey on the track?
I hope the listener feels comfortable enough to embrace their own journey of life as they listen to this song, you know, trust the process. The track is about paying attention to processes rather than starts and ends or the destination. We learn a lot more during the journey, a bit like the art of dance. Dance is the movement in between two points, that’s the art. That’s what makes it beautiful.
You’ve scored for the likes of Channel 4, Soho House and Puma’s Thierry Henry campaign. How do you adapt your sound for partners?
When I’m writing for film and TV, the picture comes first so I try to elevate what’s seen through music. I end up using a wider palette of sounds like percussion/drums or instruments with a different personality to add to the visual dynamic. For example, the Puma campaign was for an elevated athleisure clothing line with an understated motivation to achieve great things… my approach to this was lo-fi sounds with laidback drums. A different example would be the more recent short film score for “Results Day” (now on Omeleto) has got a more coming-of-age feel where I’m using light woodwind arps and brassy sounds to help tell the story of “graduating”.
What’s next for the remainder of 2024?
My debut album ‘Joy Paradox’ comes out on October 21st, so I’ve got some really exciting live show announcements coming up for November and December this year. I have also composed the soundtrack for a short film titled ‘Results Day’ which will premiere on YouTube channel Omeleto, and I’m currently planning a writing camp with my talented collaborator Elle Limebear – so watch this space!