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SOUNDS OF HORROR
Sounds of Horror pulls back the curtain on one of the most powerful tools in filmmaking: sound. Featuring Jahné Zachary (JSyncAudio, Foley/Sound) and Bryan Kelley (Control Freaks Music, Composer), this session explores how foley, score, and music create atmosphere, tension, and terror. From subtle sonic details to full-scale compositions, discover why sound can make—or break—a horror film.
BRYAN KELLEY
Control Freaks Music, Composer
Bryan cut his musical teeth on the ukulele at the age of four, while living in the Philippines as a navy brat. By thirteen, he'd moved to guitar and Seattle.
Growing up in several Northwest bands during the pre-grunge years, Bryan played alongside other emerging artists such as Scott Mercado (Candlebox), Mike McCready (Pearl Jam), and members of Queensryche and Alice in Chains.
Continuing to hone his craft, he later emerged as a singer/songwriter in Los Angeles – described as an edgy poet-musician, musically rooted in folk and modern rock. He successfully released a solo album "Charming the Gods" and toured extensively. Upon his return home to LA, Bryan started a career in composing.
With a knack for writing catchy melodies, heard on countless promotional campaigns, Bryan crafts multi-genre underscores that weave their magic around what happens on the screen.
Reveling in heavy-hitting rock and pop, quirky indie, classic and epic orchestral, as well as modern hybrid styles, his credits include 20th Century Fox, Paramount, Disney, Universal, Sony, Pixar, Lionsgate, Netflix, ABC, CBS, NBC, and many more.
Since moving to Austin, Bryan has composed music for the wickedly clever short-film, BOT, and TXMPA’s Lena Lonestar animation trailer.
JSyncAudio, Foley/Sound
JAHNE ZACHARY
Whether it was performing in a choral ensemble, dabbling in piano or being fascinated by the resonances that came from using everyday objects, Jahné found charm in the characteristics of sound.
To scratch that itch, Jahné attended Texas State University for their Sound Recording Technology program. While watching a short in a film production class, she found that the soundscape added a vibrancy to the visual medium and decided to reach out to the post-audio team who were located here in Austin!
She interned at Soundcrafter Post Inc. under their Foley Artist, Susan Fitz-Simon, and ventured into various sectors of audio post-production with a focus in the art of Foley.
Since graduating, she collaborates with other creatives as a Sound Editor and Foley Artist at Soundcrafter Post Inc. and lectures for the Film Department at Texas State University.
She has performed Foley for Hitman (Richard Linklater), Deep in the Heart (Ben Masters) and LEADS (Bryan Poyser) and continues to work with local filmmakers to bring their soundscape to life.
