About: me

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I’m Tim Atack and this is my bloated, tortuous ego section.

For writing and original music I’m represented by Emily Wraith at Berlin Associates.

For sound design / sound art, please get in touch via Twitter

For upcoming broadcasts / shows etc, check out the Sleepdogs gig page.

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Writing & directing

I won the 2017 Bruntwood Prize for Playwriting with HEARTWORM. I’m currently developing various TV drama projects and am one of the writing team for the Chinese adaptation of HUMANS (Endemol Shine China / Croton Media / Kudos.)

Sleepdogs is the name of my collaboration with director and producer Tanuja Amarasuriya, and it’s where a big chunk of my writing is developed and produced. We make fictions for stage, screen, audio and installation and we’ve had our work shown or exhibited at the National Theatre, Seattle International Film Festival, Warwick Arts Centre, Bristol Old Vic, Encounters Film Festival, Manchester Royal Exchange and Mayfest amongst many other places.

I write regularly for BBC Radio and I write Doctor Who audio dramas for Big Finish productions – which makes me unspeakably, geekily happy. My audio play The Morpeth Carol won the Radio Academy Award for best drama in 2014. A film I directed, all my dreams on VHS (starring Gugu Mbatha-Raw and OT Fagbenle) won the audience award at Bucharest’s NexT International Film Festival and has been exhibited and broadcast worldwide.

I’m an artist in residence at Pervasive Media Studio, Watershed and an alumnus of Channel 4′s 4screenwriting 2015. You’ll also occasionally find me writing critically about live art and performance, most recently for Australia’s sadly missed Realtime magazine. These days, if you want to know what I think about things (god help you) most of my irregular blogging happens on the Sleepdogs notebook.

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Sound & music

As a sound designer and composer I’ve worked in TV, theatre and film with Selina Thompson, Neil Bartlett, Raucous, Matt Lucas and David Walliams, Lucy Cassidy, Edgar Wright, Chris Goode, Lee Lyford, Lucinka Eisler, Laura Dannequin, Lyric Hammersmith, BBC Radio and Tobacco Factory Theatres amongst others, as well as scoring and sound designing every project to date by Sleepdogs. You can hear some music extracts here plus an ongoing collection of work-in-progress noises here.

I’m in a band called Angeltech. We’ve been making records, scoring films, gigging and collaborating on performance work since 1995. Venue mag awarded us album of the year in 2006. Our Soundcloud can be found here and our Vimeo here. I produced the debut album by North Sea Navigator and have done stints as the NSN band’s drummer and harmonium player.

Back in the day I used to be a visiting tutor at Bristol University, teaching sound design for theatre, and for many years I worked in the archives at BBC Bristol. Being surrounded by dusty old film and wonderful noises from all over the world influenced my work to no small degree.

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Words about things I did

“… a brilliantly unnerving and visceral piece of work by a distinctive and vividly theatrical voice.”
“Fabulously mysterious, with a lead character who leaped off the page.”
Vicky Featherstone and Russell T Davies on Heartworm, winner of the Bruntwood Prize for Playwriting 2017.

“…the skilful script by Timothy X Atack (packed with sparkling one-liners)… made this a memorable and utterly original Christmas treat…”
– Radio Academy judges on The Morpeth Carolwinner of best drama 2014.

“Watching The Bullet And The Bass Trombone is the closest I’ve come to the experience of seeing Godspeed You Black Emperor! play live: it has the same long-drawn-out drones, the same careful build-up to sustained emotional crescendos – and again, the same politics, the same humanity, fear, and hope. It takes a long time for hope to emerge in ‘Bullet’, and when it does, it floods the dark room with sunlight: a magical, uplifting experience.”
– journalist and critic Maddy Costa on Sleepdogs’ The Bullet And The Bass Trombone.

“Harrowing, intelligent, beautifully crafted and deftly performed. And ultimately incredibly uplifting in an impossible-to-describe kind of way.”
– Andrew Haydon, Postcards from the Gods, on The Bullet And The Bass Trombone.

“Delicate and simple, but still majestic.”
“A sum that is greater than its beautifully compelling and brilliant parts.”
“Impossible not to fall head over heels, totally and utterly in love with this.”
“This is sci-fi music magic and it’s very cool”
“One of the UK’s best-kept secrets… shimmeringly beautiful and lyrically savvy… makes me want to cry tears of unabashed joy.”
– The NME, DJ Magazine, Subba-cultcha, Unpeeled, and Spill Magazine on the music of Angeltech.

“The brilliant sound design, meanwhile, is by Timothy X Atack with lighting by Rick Fisher. Bartlett’s staging is sparse… it is up to Atack and Fisher to conjure a sense of place and recreate Pip’s memories. Miss Havisham’s dramatic death scene, for example, is chillingly created through inspired use of sound, lighting and a judiciously placed wind machine.”
– The Independent on Neil Bartlett’s adaptation of Great Expectations.

“Nik Partridge’s enormously confident production uses sound (by Timothy X Atack) and projection (Alex Wright) to terrific effect…”
– The Guardian on Chris Goode’s Infinite Lives.

“… a thrilling exploration of evil, identity and creativity, performed with terrific power and concentration by Timothy X Atack and Charlotte Melia… the effect is deep, thought-provoking, moving and beautifully sustained, by two fine actors pushing themselves to the limit.”
– The Scotsman on Thomas Eccleshare’s Helen.

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Corrections & clarifications

And finally – I’m not to be confused with Tim Atack, the composer of soundtracks for Among Giants, Elephant Juice or Krakatoa: The Last Days amongst others, and collaborator with Des’ree. Despite some ongoing IMDb and Google-related confusions, he is another person entirely, with his own face, legs, arms, and probably a different blood group.