We had the opportunity to talk to Michael ‘Mikey J’ Asante about his music for the popular film Kneecap, which stars Michael Fassbender. The documentary-drama focuses on the legendary Irish rap group “Kneecap.”
Mikey J, welcome to OLC! I had the chance to watch Kneecap at a media screening and I absolutely loved it. What was your initial reaction when you were approached to compose the score for “Kneecap”?
Hi! Interestingly, I was approached and initially declined due to a prior commitment, but after watching the first 15 minutes of the cut they sent me, I knew I could contribute my voice, so I was disappointed that I couldn’t be involved. However, fate turned in my favor, and I eventually got the opportunity to work on it.
How did your personal connection to Ireland and its history influence your approach to the film’s music?
I would say that being British in itself has always made me aware of the history between Ireland and England, but I wouldn’t say I had a direct connection. However, being part of an exciting new project that showcases a different perspective on Irish culture, particularly in relation to the language and its use in music, allowed me to understand the importance of doing justice to the authenticity it required and deserved.
Can you explain the process of blending different musical genres, such as DnB, Dancehall, and folk-style guitar, to create the diverse score for “Kneecap”?
It was like putting together a DJ set, using the right vibes to match the narrative moment or emotional energy at hand. It was a fun experience, delving into my past with genres like DnB/Jungle and rediscovering the sounds that brought it all together. As a curator and crate digger, it was an enjoyable pursuit.
What were some of the unique challenges you faced while scoring “Kneecap,” and how did you overcome them?
Time was the main challenge—I only had 30 days to complete the score. Essentially, I set a target for myself each day in the studio and stuck to it.
How did you ensure that the music enhanced the film’s narrative and the portrayal of the legendary rap group “Kneecap”?
I made sure not to compromise on what the sounds needed to convey, then built the tracks around that core idea. I always asked myself if I would send these tracks to an artist to perform on. They had to have an impact.
Could you elaborate on your experimentation with genre blending, especially on tracks like “Run” and “Dad’s Gone”? What made these tracks stand out to you?
For me, the creative process always begins with experimentation. I approach each project as if I’m starting from scratch, searching for the unique sound or technique that sets the tone. I believe in immersing myself in the process and allowing for unexpected discoveries, which often lead to the most authentic results.
A key moment was when I worked on ‘Dad’s Gone.’ I wasn’t sure how to take the ‘Cowboys and Indians’ theme and turn it into Hip-Hop, but I relied on my principles as a Hip-Hop artist. By sampling country and western guitars, I developed a fresh pattern that still retained a country feel. This became the foundation for the film’s score—a guiding sound or technique to build upon. Each project requires finding that new foundation and never relying on past work. Every score must have its own identity, and uncovering that core is immensely gratifying.
To achieve this, I go through what I call “The Well,” a space on my computer filled with sound packs in different folders. I experiment, curate, and collect sounds to use in developing ideas that evolve into complete compositions. It’s my version of crate digging, a classic method I’ve adapted for scoring.
This approach is demanding but essential for me. With each project, I discard the previous foundation and start anew. Working on Kneecap was no different, but it demanded a deep dive into Hip-Hop’s sub-genres, knowing when and how to incorporate them to support the narrative. For instance, on the track “Run,” I tapped into the sounds and samples of Jungle music from 1994, channeling my teenage self. It was a fun challenge that combined nostalgia with current trends.
Ultimately, I don’t want the score to simply accompany the film—I want it to be felt first. The score and the scene should be inseparable, guiding the audience through a shared experience.
How does your experience in live theater and hip-hop dance influence your work in film and TV composition?
It has enhanced my ability to produce material quickly and make swift decisions. The Well keeps me focused on the palette, so the goal is to work efficiently and evaluate later with a critical eye. The multi-genre work allows me to practice and refine my skills to suit various projects. It’s a continuous process for me.
What was it like collaborating with Michael Fassbender, the band, and the rest of the cast and crew on this project?
Unfortunately, I joined the project late, so I didn’t have much direct contact. However, it was an honor to be chosen to represent the score for such a talented team. Rich and I developed a close working relationship as the vision was closely tied to the music.
Why do you think experimentation and thinking outside the box are essential elements in film and TV music composition?
It’s about staying fresh, a fundamental Hip-Hop sensibility. I aim to push myself into new territory and establish a new foundation for each project. Starting with experimentation sets the path into the unknown. You’re chasing that ‘Aha!’ moment—a truly rewarding experience after taking that leap.