Bringing a refreshing sonic architecture in a diverse body of work spanning across film, television, and commercial work, Belgian-born composer Peter Baert’s talents also encompass orchestration, electronic music, and music production.

After creating a 30 minute-long demo for Golden Globe-nominated David Oyelowo years previously, Baert recently scored the Selma actor’s directorial debut feature The Water Man, co-produced by Oprah Winfrey, which was orchestrated by Matt Dunkley and recorded in a special set up within Galaxy Studios in Belgium during the COVID-19 pandemic. The Water Man was released in U.S. theaters May 7 ‘21 and is available worldwide on Netflix.

Most recently Baert worked on the documentary series Miracle N°71. In 2022, Peter scored LostLuggage, a Belgian primetime fictional series based on the 2016 Brussels bombings and Innomable, a documentary about one of Belgium’s darkest pages in history.

In 2018, he scored the Ensor Award-winning documentary exposé Breathless about the hazardous but surprisingly still booming asbestos industry, as well as the 2017 Belgian film Façades, directed by Kaat Beels & Nathalie Basteyns, which was pre-selected for the European Composer Awards and was also nominated for an Ensor Award.

In 2006, Baert co-founded Raygun - a commercial sound studio in Brussels working in advertising, television, and film; which he owns and runs together with his wife Liesbeth. 

He is also the proud father of three daughters.


 

Mirakel N°71

 

Miracle N°71 is the story of Nathalie Basteyns, director and MS patient, who is searching for a miracle. After ten years in a wheelchair, she wants to be able to walk again. Together with photographer Lieve Blancquaert and her nurse Gustave, she travels to Lourdes. In Lourdes, 70 miracles have been officially recognised by the Catholic Church and Nathalie hopes to put number 71 to her name. Miracle N°71 is Nathalie's quest for cure -or acceptance- of her illness.


Electronic Music

On December 14th ‘22, Peter had a conversation with ChatGPT, in which he asked about love, life, and feelings. The responses provided by ChatGPT were so alarmingly realistic and challenging that Baert decided to compose music based on them. 

The result is "Reflections on Artificial Intelligence," an intimate piano piece accompanied by text-to-speech from the chat bot's responses.

This albums contains early work that I released under the pseudonym Petersonic.

In most of my earlier work, I started making music from vocal material, working with recording friends reading random magazine articles, mouth noises, stretched vocals, vocal performances and so on.


That material was manipulated in all sorts of ways and became beats, synths, melodic material,... A track like "Morphine" , "Neilla Deum" or "Dreampole" is completely made with vocal material, like the mouth noises of Chantal Pattyn.

“Morphine” on Art movie “Unrolling” by Frieke Janssens



The Water Man

The music of The Water Man is a mix of classical orchestra, piano, percussion, and electronics. Peter felt the score should follow the journey of the main character Gunner, going on quest into the woods to save his ill mother. He processed the Water Man’s screams and sighs through long delays, modular tools, and tape echoes to create “The Water Man Synth.” When David proposed a motherly energy to be present in the music, Peter worked with a vocalist, Judith Okon, who has a similar timbre of the mother (Rosario Dawson), and created “The Mother Synth.”
 
David Oyelowo says, “Music and sound in film has always been important to me, which is why I consider myself lucky to have met composer Peter Baert when I did. We first crossed paths when he was the sound engineer on another project I was working on in Belgium, and he had previously shared a music demo of his compositions that I just couldn’t shake. While in post-production on The Water Man, I was working with another composer and had initially cut Peter’s music in as an experiment, and it all just worked perfectly. Within a week, he flew over, sat next to me in the edit, and that's how he became my composer. He'd never done an English-speaking film before, and he totally nailed the tone. We recorded and mixed at Galaxy, and did all the sound design and mixing at Sony and re-recording at Deluxe Hollywood.”

 
 

“This is a score that I know I will return to many times, it is one of those soundtracks that when you listen to over and over, one hears little quirks and nuances that you may have missed first and second time around, the mystical aspects of the storyline being complimented perfectly by Baert’s fine score. Recommended.” - Movie Music Int.


Lost Luggage

After the terrorist attacks on Brussels Airport, Samira Laroussa, a strong-hearted, half-Moroccan policewoman, is missioned to handle and return all baggage and personal belongings that were left behind in the departure hall that day. Every new encounter with a victim or relative will unbalance the seemingly strong Samira who is far from ready to deal with the pains of her own troubled past. Even so, she perseveres in helping everyone. In her blind determination, however, Samira forgets one thing: herself. “Lost Luggage” is a bittersweet story about finding solidarity, love, and hope, even in the most difficult times.

Score performed by Echo Collective.

 

Façades

When her mother abandons her dementing father, Alex unexpectedly finds herself at a crossroads. As she moves back in the parental house to look after her father, she starts questioning her own life. Does she want to stay with her adulterous husband? She tolerated his affairs for years, but is she really happy with him? Or should she, like her parents, drop the facade?

Score performed by Echo Collective.