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September 2012 - Music Connection



Rie Sinclair

Songs for TV's Vampire Diaries, Nurse Jackie, Law & Order

By Dan Kimpel

Emmy-nominated songwriter Rie Sinclair has amassed a prodigious

catalog of credits for TV shows including Vampire Diaries, Nurse Jackie,

The Hills, Californication, Charmed, Law & Order, plus productions for

ABC/Disney and MTV, a network that utilized her main title theme for Blonde

Charity Mafia.

With the release of her four-song EP, Bee Sides, Sinclair presents a collection

of singles that might otherwise be lost in her whirlwind of television

deadlines and priorities. Each of these songs is infused by a rich emotional

palette that reveals the artistry of an evolved and evocative singer-songwriter.

A native of St. Paul, MN, Sinclair says she had no intention of devoting her

life to music. Moving west, she lived in San Francisco, CA, and later arrived

in Los Angeles where she worked behind the scenes in television production.

Sinclair began writing worship songs for a church affiliated with the Vineyard

Movement. “Liberating, genuine people, with a very open perspective,” she

qualifies. Hooking up with a producer, she began a regular writing regime. “I

got in the habit of writing songs every day to see if I could discipline myself.

If you start kicking the car, you can make it run.”

Sinclair’s initial career provided a perspective on how songs fit into the

overall fabric of a show. “You are a piece of a massive whole. Think of

the individuals, technicians and politics that go into making one film, and

television is that and so much more.”

And a creator’s understanding of this

comprehensive unity is key, says Sinclair. “Look

at it as if you're standing in front of the ocean.

If you go to the sea and feel insignificant

and ungrateful, then you might

need to start exploring how

this works together and how

integral you are in the process.

Everything is important.”

With a burgeoning catalog of

music, it made sense for Sinclair

to establish her own music library

to serve the industry. “I’ll connect

with different music supervisors

and shoot them ideas from the

library. For the work-for-hires for

Disney, they’ll want a package with

a specific range of emotions. They

might say, ‘Give us four songs

about really sad, heartbreaking

situations, but keep the words


In the creative mode, Sinclair

is a top-line writer who crafts

lyrics and melodies within a chord

structure. “The song could be taken

away from those chords and the

entire arrangement redesigned.

That happens depending on

whom I’m working with.”

With Bee Sides, Sinclair is in all-out artist mode. “There was the possibility

of turning them over to someone else in a work-for-hire situation, but I wanted

to find the right place for them as an artist,” she confirms. And the four-song

sampler is an ideal introduction. “It seems boring at this point to put out full

length CDs. I’d rather release a series of EP’s. I’m riding a wave of what the

public connects to and expects.”

She realized a natural order of creativity by writing songs for hire. “A song

has to grow on me––I have to have a relationship with it,” Sinclair notes. “It’s

very personal. I want each song that I write to have a life. It’s like having a

child. You want to admire it on its own.”

She says, however, that writing songs, especially works-for-hire, requires

letting go. “You want it to be good and to have a long life. When you come

back and listen to the song later, maybe it’s taken on its own shape because

you’ve grown and you’re hearing it from a different perspective.”

As both a successful songwriter for television projects and a deeply

committed artist, Sinclair reflects back to earlier in her career when she

arrived at an essential truth. “I had to walk away from this situation where it

was my art and just ‘me, me, me.’ And once I was capable of doing that, and

freed from my own grip, music became its own entity. The goal became to

serve the song rather that to have the song serve me.”

Listen at

Contact Taylor Van Arsdale,

Tailfish Productions and PR,

30 September 2012

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