Michael McCann
Sleek, futuristic soundscapes that blend cybernetic synths with haunting, wordless vocals. The definitive soundtrack for late-night focus and urban solitude.
Sleek, futuristic soundscapes that blend cybernetic synths with haunting, wordless vocals. The definitive soundtrack for late-night focus and urban solitude.
Michael McCann creates music that feels like the architectural blueprint of a future city. It is a world of high-contrast shadows, where cold digital precision meets the warmth of human breath. His sound is defined by a 'cyber-noir' aesthetic: deep, pulsing basslines, shimmering synth pads, and intricate percussion that feels both mechanical and organic. It is music that occupies the space between a heartbeat and a clock tick.
What truly distinguishes McCann is his use of the human voice as a textural instrument. Rather than traditional lyrics, he employs haunting, ethereal female vocals that float above the electronic density like ghosts in the machine. This creates a profound sense of 'future-nostalgia' - a feeling of longing for a world that hasn't happened yet. His production is impeccably clean, allowing every subtle click and cello swell to resonate with cinematic weight.
For the uninitiated, the Deus Ex: Human Revolution soundtrack is the essential starting point. It perfectly encapsulates his ability to balance high-stakes tension with moments of fragile beauty. Whether you are a fan of electronic music, modern scores, or simply need a sonic environment for deep concentration, McCann’s work provides a sophisticated, immersive experience that lingers long after the final note fades.
Michael Anthony McCann is a Canadian composer for television, video games and film. He is best known for composing the scores to the video games Tom Clancy's Splinter Cell: Double Agent, Deus Ex: Human Revolution, XCOM: Enemy Unknown, Deus Ex: Mankind Divided and Borderlands 3. McCann's music incorporates elements of electronic, orchestral and traditional acoustic instruments, and often includes the use of world, choral, and solo vocals (primarily female, and primarily lyric-less). His scoring work, as well as solo and production work, bridges multiple genres including ambient, world, jazz, break-beat, post-rock, trip-hop, drum and bass, industrial, rock and pop. McCann has received award nominations for his work in television, games & film, from the British Academy of Film and Television Arts, Academy of Interactive Arts & Sciences, IGN, Spike TV Video Game Awards, G.A.N.G., Hollywood Music In Media Awards, and G4TV X-Play. His sound-design work on the film It's All Gone Pete Tong also earned him two Genie Award nominations for Best Overall Sound Editing and Best Overall Sound. Past projects include original composition work for MTV, VH1, Discovery Channel, The Gap / Old Navy, Paramount Pictures, Alliance Atlantis (various films / trailers), Showcase, Audiokinetic, Odeon Films, Ubisoft, NASA, the Canadian Space Agency, FUBAR (as supervising sound-designer), and various commercials and independent films.
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