Sebastian Plano

Sebastian Plano’s musical fingerprints are all over films like In Too Deep (2023), High Tide (2024), and Vortex (2020), and honestly, if you’re into movies that know how to hit you right in the feels, his stuff is legit. The guy’s not just some background composer—he’s more like the emotional engine humming underneath the surface, pulling you along for the ride whether you notice or not. Take Vortex (2020) for example. The film’s this swirling mess of memory and reality, the kind of story that could’ve fallen flat without the right touch. But with Plano’s score, every fragmented thought or sudden flashback feels amplified. The music doesn’t just sit there; it kind of creeps up and twines around the scenes, so you’re left feeling a bit breathless by the end. It’s not just about what you see; it’s about what you hear and how it lingers. Then you’ve got In Too Deep (2023), which is a completely different beast. There’s this underlying tension, some sort of emotional undercurrent that Plano manages to nail. It’s not all sweeping strings—sometimes it’s barely-there piano notes or a synth that makes your heart race even when nothing’s happening on screen. He’s got this knack for making silence feel heavy. High Tide (2024) is a more recent one, but you can already tell Sebastian’s evolving. The score is more experimental, less predictable. He messes with tempo and mood, keeps you guessing. It’s bold and kinda brave, honestly. Not everyone can pull that off without making it sound forced, but Plano just gets it. The guy’s music isn’t just part of the background—it’s the pulse.