Antony Partos

Antony Partos is one of Australia’s most awarded film composers. His passion lies in creating scores that blend both acoustic and electronic elements alongside an eclectic mix of exotic instruments.

His feature film credits include Animal Kingdom (AFI Award for Best Feature Score) The RoverDisgraceThe Home Song Stories, (AFI Award for best feature score) and Unfinished Sky (AFI Award for best feature score).

His evocative scores for TV Drama include The Slap (AGSC Award for Best TV Theme), Mabo (AGSC Award for Best Telemovie Score),Rake (AGSC Award for best music in a TV Series and best song for a TV drama), Redfern Now (AACTA Award for best music score in television).

Recent projects include the U.S feature film 99 Homes, the award winning score for the feature film Tanna (Film Critics Circle Award), the epic feature documentary Sherpa (winner of the AGSC as well as AACTA award for best music for a documentary) alongside Australia’s most popular drama series Love Child.



The outstanding original score by Antony Partos (“Animal Kingdom”) combines delicate electronic ambience, pulse-quickening drumbeats and haunting vocals by Lisa Gerrard.

Variety Film Review: 'Tanna' by Richard Kuipers


Antony Partos’ subtle orchestral score is elegantly woven into Sam Petty’s outstanding sound design package.

Variety Film Review: 'Sherpa' by Richard Kuipers


A key element in this tapestry is the critical role given to Antony Partos' part-acoustic and part-electronic score, which completely achieves what the composer calls "a sense of the epic within the film without being melodramatic." Michod so trusted the score he periodically uses it instead of dialogue over key dramatic moments.

Animal Kingdom Review LA Times


You can say a great deal with just a few piano chords. If you choose the right chords. The piano has the least distinction and the most versatility of all timbres. It is pure and elegant; brimming with harmonic potential for even the solo player; and ultimately providing a challenge to the listener to extrapolate tonal character from the mood of the music.

On this soundtrack, Sydney composer Antony Partos finds just the right mood, with just the right chords. These are played simply, economically; elaborated with no more than a few passing double stops and barely a hint of an arpeggio. The mind is given time to wander, to ponder, to tiptoe across a pond of possibilities. 

Although I haven’t seen the film as yet, the synopsis suggests perilous territory for a composer. It would be easy to reach for maudlin melodies, but Partos selects a more controlled sensibility. With the straightforward piano motif as anchor, a whole array of strings, acoustic guitar, uncluttered bass and drums and assorted lush samples prevent any risk of the score sinking into minimalist ambience. 

Partos’ production is exquisite. Every sound, every tonality deserves its place. Even while the atmosphere closes in, even with the spectre of death and grief in the background, the instrumentation continues to breathe. 

There is no better example of this than in the soundtrack’s title song. The top end is all bell-like and reverberant; the bass warm and powerful; the drums tight and full of presence; and Sarah McGregor’s vocal as clear as if it were shoved ridiculously forward though it actually sits perfectly in the mix. 

McGregor sings with restrained emotion. Her phrasing on both the title track, and an abridged version of The Church’s Under The Milky Way, possesses a refined elegance. There is not a hint of sentimentality, but her precise diction and musicality allow lyrics and melody to speak for themselves. 

Australian cinema often produces traditional orchestral scores and nostalgic rock soundtracks that are world class. It is more uncommon for it to deliver this kind of contemporary cosmopolitan score. Reflecting universal themes, the classical expertise shaping the soundtrack’s arrangements are augmented by a highly modernistic sound design – exemplified by the fact that a couple of techno-oriented tracks pound away quite comfortably in the midst of incidental cues.

Most impressively, Partos manages to evoke a sombre atmosphere without allowing his score to ever feel weighed down. Lying somewhere between the pensive and the elegiac his music echoes the ambiguities of life; and stepping lightly across a fluid surface guides us to a place of reflection. 

Walking on Water Soundtrack Review by Brad Green:




2016AACTA Award Best Original Music for a Documentary - Sherpa

2015APRA/AGSC SCREEN MUSIC AWARD Best Original Music for a Documentary - Sherpa

2015   AACTA Award Best Original Music Score Nomination - The Rover

2014   AACTA Award For Best Original Music Score in Television - Redfern Now Series 2

2014   APRA/AGSC SCREEN MUSIC AWARD Best Original Song For The Screen - "Don't Let Go" From Rake

2013   APRA/AGSC SCREEN MUSIC AWARD Best Original Song Composed for the Screen - "Lonely Child" from Redfern Now

2013   APRA/AGSC SCREEN MUSIC AWARD Best Music for a TV Series - Redfern Now

2012      APRA/AGSC SCREEN MUSIC AWARD Best Television Theme - The Slap

2012   APRA/AGSC SCREEN MUSIC AWARD Best Soundtrack Album - The Slap

2012   APRA/AGSC SCREEN MUSIC AWARD Best Music for a Mini-Series or Telemovie - MABO

2011   AGSC Award for Best Music for a Documentary - Lachlan Macquarie: Father of Australia

2011   SCREEN MUSIC AWARDS AUSTRALIA Best Music for a Television series or serial - Rake

2010   AFI Award Best Original Music Score - Animal Kingdom

2008   AFI Award Best Original Music Score - Unfinished Sky

2008   Film Critics Circle Award Best Original Music - Unfinished Sky

2007   AFI Award Best Original Music Score - The Home Song Stories

2004   Bronze Lion, Cannes Head & Shoulders - Boys & Girls TVC

2004   AGSC Award Best Music For A Commercial - Lux Lift

2003   IF Award Best Music nomination - Garage Days

2003   POV Award Best ScoreSyntax Error2002AFI Nomination Best Original Music Score - Walking On Water

2002   IF Award Best Music nomination - Walking On Water

2001   ARIA Award Best Soundtrack nomination - Monkeys Mask

1999   AGSC Award Best Music For a Soundtrack - Soft Fruit

1997   AGSC Award Best Music For A Commercial - Optus Business Solutions

1994   Golden Reel Award USA Motion Picture Sound Editors - Universal Appliance Co.

1993   New Zealand Film & Television Awards Best Music - Crush