Will Bates' latest project, The Pirate Album, shows a creative evolution beyond film scoring. It all began when Bates, while working on film compositions, rented a fifteen-foot-long balafon (gourd-resonated xylophone)—an unusual move that initially displeased his director. Despite the project's quick dissolution, Bates saw potential in the balafon-infused sketches and decided to develop them further.
Enlisting close collaborators like jazz musician Quentin Collins and longtime percussionist Spencer Cohen, Bates reworked the sketches into a unique album. Inspired by artists such as Eden Ahbez and Talking Heads, The Pirate Album blends diverse musical influences, showcasing Bates’ versatility.
The project faced delays as Bates prioritised film compositions, but a sync placement secured by music supervisor Lucy Alper reignited his commitment. The result is a vibrant collection of nine tracks, reflecting Bates’ creative spirit and musical range. “I know how lucky I am to work in film music,” Bates says. “But it’s been a long time since I worked on music purely for its own sake.”
The album marries the resonant, melodic tones of the balafon with dynamic rhythms and rich textures, creating a sonic environment that oscillates between introspective and exuberant. The music effortlessly transitions from jazzy, brass-driven passages to experimental, groove-laden sections reminiscent of early Talking Heads, all while maintaining an undercurrent of playfulness and intrigue. Each track is a distinctive exploration of genre, from lush, cinematic expanses to tight, rhythmic motifs, reflecting Will Bates' diverse influences and creative vision.
