Inside the immersive world of Killian Wright and the studio rewriting the rules of audio post-production
– By Kevin Thomas-Howe
“We don’t just add sound to picture. We build worlds where sound breathes with the frame.”
— Killian Wright, Composer and Creative Director, Flow Stereo
In an industry where post-production often feels like an afterthought, Flow Stereo is doing something different—radically different. Headquartered just outside of London and quietly building a cult following among directors, creative producers, and sound purists, the studio is crafting sound that doesn’t follow pictures but co-authors them.
At the helm is Killian Wright, a classically trained composer with the instinct of a storyteller and the tools of a sonic futurist. His studio’s calling card? Flow Sound—a signature philosophy that threads music and visuals into one seamless narrative gesture. It’s immersive. It’s architectural. And it’s starting to make a serious impact.
Flow Sound: Where Music Becomes Narrative
What makes Flow Stereo’s approach unique is its refusal to separate sound from story. In Killian Wright’s world, audio is no longer “added on” in the final stages of editing. It’s composed from the very beginning to serve the emotional, psychological, and visual arc of the work.
“Too often, sound design is seen as wallpaper,” says Wright, sitting in a brightly lit control room of his acoustically treated Flow studio. “But when you integrate it from the ground up, it stops being background. It becomes tension, texture, emotion.”
Flow Stereo excels at pushing the medium’s boundaries, challenging the divide between music and sound design. And indeed, Flow Sound doesn’t feel like anything else. Foley and music blend into one stream of sonic storytelling. Percussion patterns become character traits. A reverb tail becomes an emotional cue. “We’re trying to make sound breathe with the camera, not just follow it,” he explains.
From Classical to Cinematic: Killian Wright’s Sonic DNA
Killian Wright’s credentials are as compelling as his creative output. Educated in composition at Royal Holloway—as part of a scholarship—and a piano diploma graduate from Trinity College London, Wright’s foundation is steeped in classical rigour. But it’s his ability to translate that into the language of contemporary media that sets him apart.
“I grew up on Ravel and Prokofiev,” Wright laughs, “but I was also obsessed with Hans Zimmer’s modular textures and Johann Johannsson’s minimalist melancholy. Film music lets me bridge that gap between architecture and atmosphere.”
Having been mentored by the likes of David Stowell, Nathan James Dearden, and Nina Whiteman, Wright has carried forward a philosophy of sonic intentionality: every note and sound has a narrative purpose.
His work includes not only advertising and branding for names like Vinted, Brit Alliance, and Greenall’s Gin, but also long-form projects like the indie sci-fi chiller Dark Moon, where Wright’s score creeps into the viewer’s subconscious, layering dread not with bombast, but with subtle, almost imperceptible shifts in sonic tone.
Signature Projects That Prove the Theory
Vinted: “Too Many” Campaign
For this kinetic commercial, Flow Stereo delivered a hyper-modern collage of rhythm, fashion, and form. “We fused glitchy pop with the kind of rhythmic foley that mimics the act of scrolling and sorting,” explains Wright. “Every zip, fold, and notification was placed with musical precision.” The result: an audio texture that makes fashion feel like a dance.
Dark Moon: Feature Film
This cerebral space thriller was a masterclass in restraint. “We used percussive decay, metallic resonance, and low-frequency synths to convey the psychological descent of the protagonist,” Wright shares. “Every creak and groan was timed to echo a beat of internal unravelling.” It’s sonic storytelling in the truest sense—subtle but devastating.
dCS Audio: Brand Film
For this high-end audio tech brand, Flow Stereo had one goal: clarity. The final mix, created using spatial ambisonics and phase-accurate layering, is a lesson in sonic purity. “It was about ensuring the audience feels the innovation that underpins this product” says Wright.
The Composer’s Cut: How Wright Builds with Directors
Unlike traditional audio post houses, Flow Stereo invites directors into the sound conversation early—and often.
“We treat sound like a character,” says Wright. “In some projects, we’ve started composing from the storyboard stage. That means we’re not just reacting to cuts—we’re influencing them.”
This collaborative model is particularly attractive to filmmakers looking to inject greater cohesion into their productions. And it’s flexible, too: Flow’s Service Re-Fit offering lets clients bring their own royalty-free or pre-licensed tracks, which the team then reshapes into bespoke scores fully synchronised with the visuals.
“It’s a brilliant middle ground,” says indie filmmaker Sara Kent, who worked with Flow on a recent short. “We had a limited budget for original scoring, but what Killian’s team did with our music completely redefined the emotional tone of the film. It wasn’t just scoring—it was sculpting sound.”
Beyond the Mix: Mentoring and Legacy
Killian Wright isn’t just composing; he’s cultivating the next generation of sonic storytellers. As a professional member of the Independent Society of Musicians, he mentors young talent at Flow Stereo, championing an ethos of experimentation, musical literacy, and emotional precision.
“I share this insight with all of my musical collaborators: don’t just make things sound good—make them mean something,” says Wright. “That’s the difference between a mix and a moment.”
The Future of Sound, Now
With a growing body of work across formats and genres, Flow Stereo is poised to become a staple in the toolkits of directors and producers who want more from their post-production sound. In an age where audience attention is fragmented and fleeting, Flow Stereo creates audio that lands—that lingers in the memory long after the credits roll.
As Wright puts it: “When a viewer says, ‘I don’t know why that scene gave me chills,’ we know we’ve done our job.”
Interested in taking your next production from audible to unforgettable?
Flow Stereo is currently open to commissions, with flexible entry points for both indie filmmakers and major production houses.
Visit www.flowstereo.com to hear their latest work—or better yet, feel it.
