andrew hartshorn



Following a long hiatus Andrew returned to writing and production in 2019. After completing three digital production albums in lockdown, his first solo CD "The final corridor of uncertainty" was released on monochrome motif records in Spring 2022 . He also orchestrates and collaborates with other artists. His style encompasses a mix of post classical, cinematic and electronica.


Listen and buy Andrew's music here


"mythos unveiled"

This album from Andrew Hartshorn
should be on your listening schedule - a great mix of orchestral works; from pop to lofi, majestic to rocky, it’s got a hell of range! Mikey J

"the final corridor of uncertainty"trust the doc blog 68

Andrew Hartshorn has been bagging some airplay on my radio shows recently and now he has an album out entitled The Final Corridor of Uncertainty. It finds the UK composer stretching out in terms of his style. From the opening piano figure and strings drifting in and out of focus on Windmills and Windfarms, he builds his tracks gradually through opening patterns in a post-minimalist manner, sometimes adding an unobtrusive beat. The title track again follows the same pattern of piano setting the pace and strings adding melody and colour.
There is a cinematic quality to a lot of Andrew’s writing and it is easy to envisage these pieces in a movie or documentary soundtrack. The recent single Longitude is dynamic and uses open intervals to punctuate the melody while again repeating patterns in the piano playing off against strings that drift in and out of focus. Up the creek is tender, resonant piano playing in interrupted broken chords and the strings doubling the melody an octave up. Sometimes the music is darker and more enigmatic as on The Greenhouse where the strings have a semi-Baroque quality although the style is closer to neo-romantic. Final Destination is daunting and dark, strings playing minor key chords over what sounds like synthesized cello. He ends the album on an upbeat note with Brighter days ahead. More open intervals and we get vocal chanting against fifths in the piano and repeating string patterns. It is a strong end to a lovingly crafted, varied but consistent work that underlines Andrew Hartshorn’s talent as a composer of filmic, dynamic but never overegged


For all orchestration or production music enquiries please get in touch