In terms of library music my work can be compared to Felt Music. They have a huge selection of library music for a wide range of genres, including horror; however, unlike my project they are all simply categorised into their 'mood' column as 'scary music' and doesn't allow for any deeper search into sub-genre. My project stands out from this as each of my cues offers a detailed and insightful description stating exactly what the client can expect to hear before they play the track, building a picture of precisely what narrative the cue would be appropriate for.
Aesthetically my work is similar to Sencit music, where the library content is featured in a very straight forward and linear way by being a row of images with the content linked to it (in my project's case video links). This differs from Felt Music's search function which requires you to navigate through a variety of menus before reaching the audio browser. This menu is solely text based which I didn't opt for as, although some cues would be easier to find with keywords, I felt that images would be more likely to grab the attention of the viewer and make them instantly aware of what to expect.
In terms of the cues as compositions, musically they bear similarities to Marco Beltrami. Beltrami has composed for many horror films such as 'The Woman in Black' and 'Carrie'. His scores rely on orchestration and harmony primarily using organic instruments, but as proven with 'A Quiet Place', he also has great capability in sound design and synthesis. A lot of Beltrami's work was used as references for this project, and I was inspired especially by his ability to use the performance of string and brass sections to convey incredibly strong narrative and emotive content.
In terms of production my tracks are similar to Colin Stetson. Stetson often uses traditional horror techniques in unorthodox ways, for example his score for 'Hereditary' uses primarily recordings of woodwinds, a family of instruments not commonly seen in horror. He inspired me to use woodwinds in my tracks meaning my cues share similar timbral material to him. His pieces often consist of a few evolving elements all weaving in and out of each other in different combinations to create a full track. My pieces are usually full of a large amount of tracks which change throughout the cue similar to that of a traditional score, however I like to apply Stetson's technique to certain layers that sit underneath the main melody, to capture a similar mood to that in his scores.