Dot Allison Dulcet Voice

A key ingredient of subversive film scores of the counter-culture era.

What zeitgeist elements unify a violent cop caper, murder suspense thriller, murder suspense thriller and chilling horror film from the late sixties/early seventies? Well its the use of softly sung solitary female voices. Not in song, but just the pure innocent tone as an instrument. These scores became key influences on Dot’s work as a composer are three seemingly unconnected edgy noir-ish films from the heyday of maverick film-making in the counter-culture era. But also an era where scores branched away from established musical tropes, experimenting with use of hyper-realistic instruments and effects, electronics, jazz, funk and non ‘western’ instrumentation.​

Lalo Schifrin’s era-defining score for Don Siegal’s hyper masculine DIRTY HARRY offset this story of violence and pursuit with the ghostly tones of a distant solitary female vocal.

Part of Alan J Pakula’s seminal “paranoia trilogy” KLUTE has a standout score by Michael Small. That mixes use of microtonal marimbas combined with an eerie female vocal to add to the sense of confusion.

Of all of the films of this era Polanski’s ROSEMARY’S BABY enjoys the most famous use of female vocals. Sung by the lead Mia Farrow, a lyricless lullaby that chills you to the bone from the outset.

The uniquely British approach to vocalisation that naturally sits with projects that need a beautiful, but also disturbing edge.

Dot's unique voice can be heard in numerous acclaimed film and television soundtracks featuring in both composed score, featured artist and 'needle-drop' source music from Dot's own recording catalogue.