BIOGRAPHY FOR THE COSMIC REGISTRAR
Adam Peters began his ascent as the cellist, keyboard mystic, and string sorcerer inside Echo & The Bunnymen—an initiation rite that opened the first gateway. From that point on, he learned to bend classical instruments into electronic shapes and electronic shapes into emotional weapons. People call him a composer, a soloist, an arranger. The truth: he is an operator in the borderlands where genres dissolve.
His hybrid sound—cello murmurs from alternate dimensions, synths tuned to forgotten frequencies—caught the ear of filmmaker Oliver Stone, who promptly enlisted him for Savages, Snowden, and a sequence of geopolitical visions and deep-dive documentaries.
Then came Icarus, his sonic blueprint for Bryan Fogel’s real-time odyssey into truth and danger. The film rose, mutated, won an Oscar, and Peters’ score became part of the engine that pushed it into orbit.
Recently, Peters composed the electro-acoustic tapestry for the Paramount / Apple TV series Shantaram. Western strings and synths meet Indian voices and musicians recorded in Chennai—an intercontinental transmission stitched together by a man who refuses to obey the fences between cultures or frequencies.
He travels fluidly between electronic minimalism and full orchestral mass:
experimental voltage-cello and psychoactive ambience for French artist JR in Paper and Glue
a mycelial, electro-acoustic score for Fantastic Fungi, where he mapped the secret language of mushrooms into music
classic orchestral architecture in Paddington, where emotion sits at the center of the maze
Peters is devoted to originality as a practice, not a slogan. He splits his time between a studio perched on a mountain in Topanga, California, rooms carved into the sonic strata of Manhattan, and his home city of London—three points of a personal triangle that keeps the circuitry alive.
From rural quiet to urban pulse to transatlantic myth: the music continues, the signals keep coming, and Adam Peters remains tuned to the frequencies just outside normal hearing—exactly where he prefers to work.