With roots in the quaint backdrop of the West Midlands, Ursine Vulpine is the many-faceted brainchild of multi-instrumentalist composer and director Frederick Lloyd; a man whose prowess with the creation, capture and presentation of sonic and visual media is nothing short of extraordinary.
Whatever angle at which you approach Ursine Vulpine, it’s just the tip of the proverbial iceberg. As a competent all-round musician as well as a pianist, guitarist and flautist, Frederick has an intrinsic understanding of what goes into creating something beautiful. Every layer of instrumentation in his tracks, be it thundering percussion or gorgeously understated strings, is composed and arranged by him, giving his soundtracks enormous possibility. As a project that started out with the composition of instrumental folk and ambient music, the sonic element of Ursine Vulpine has developed into sweeping cinematic and orchestral compositions for film and television, fluctuating between the grandeur of post-rock epics and delicately murmured piano pieces.
For Frederick, the relationship between audio and visual media is, and has always been, a strong interest, and through a love of combining the two came the necessity for a professional moniker that encapsulated his passion for both film and music. Independently of the Ursine Vulpine title, Frederick has conceptualised, created and produced music videos and short films for a number of respected musical artists including Exlovers, Talons, A Winged Victory for the Sullen, Sleepmakeswaves, and Heinali and Matt Finley. His videos for these artists, and for his own tracks as Ursine Vulpine, have been lauded by many big names, such as the astonishingly vast and ethereal Nordic-esque escapism of ‘The Constant’ which was part of the BBC Music Video Festival, and included in a BFI showcase.
Frederick is looking at moving away from music videos in the future and focusing on short and feature-length films. His upcoming graduation project, ‘Pantheon’, which was described by veteran film technician Chris Pinnock as being one of the most impressive sets he’d seen since working at UCA, is set to be a great milestone in Frederick’s career. Pinnock, who has worked closely with Stephen Spielberg in the past said “I’ve worked with some of the biggest names in film and Frederick looks as though he’s been doing it for years.” The audio component of these projects will always be hugely important to Frederick; through Ursine Vulpine he intends to soundtrack every film he makes, keeping the alter ego solely music-orientated.
The potential for uniquely immersive live events with Ursine Vulpine is also gargantuan, with the combination of astonishing visuals and grandiose orchestral performances being something relatively untouched thus far in modern media. The best is without question yet to come, and Frederick’s already-respected name is set to reach dizzyingly great heights.