From the very outset of this job, the agency's ambition was crystal clear: deliver a killer baseline. Something with energy and identity, but without feeling overly polished. Singular, almost otherworldly, while spanning genres, eras and demographics. Easy.

I've heard poets talk about the liberation that comes through the contraction of form. And that was the defining characteristic of this project.

The poetic strictures of this classic 30 TVC were as follows -

Tempo locked at 110 bpm

6 modular sections - each one 4.36 seconds long

1.84 second intro

2 second outro

By placing such a clear limitation at the centre of the work, the possibilities felt endless. It was as if every creative door shut, quietly opened another.

The team came armed with some of the greatest bass-driven tracks ever made. Early disco, hip-hop, groove - N.E.R.D, Chakka Khan, Queen - on paper, wildly different. But in common, each had a baseline that simply could not be ignored.

This is where the real challenge emerged. Iconic baselines are deceptively simple. Too close, and you're quoting history. Too far and you lose that immediate pull. Our task wasn't just to write a great baseline; it was to write one that felt inevitable. We started not with harmony or melody, but with movement. Tempo became the emotional backbone before anything else existed.

Early versions taught us more about what the track wasn't than what it was. Too disco, too indie, interesting but forgettable. Again and again, we removed rather than added. Fewer notes, more confidence. The breakthrough came from an unexpected place. Johan Johansson's Arrival score, not for its sound, but for how it uses voice as texture. That shifted everything. Instead of adding another hook, we built an atmosphere. Strange vocal layers, off-kilter harmonies, hints of something just beyond reach. Suddenly, the baseline had a world to live in. That's probably my favourite thing about the finished track. It does exactly what the brief asked, but without feeling hemmed in by the references. None of that happens without the right collaboration. Martin brought brilliant instincts and Natasha created exactly the kind of open, idea-first environment every composer hopes for. The references were never a destination, just a springboard. To understand how we arrived at the final track, I thought it might be interesting to share some of the roads we traveled along the way.

Below are a handful of demos, experiments, and abandoned ideas that ultimately shaped the final piece. Some survived a day, some a few weeks, each nudged us closer to where we landed.

Looking back, this project was a reminder that the strongest ideas rarely arrive fully formed. More often, they emerge through clarity of constraint, trust in collaboration, and a willingness to keep paring back until the essential thing reveals itself. In the end, it felt less like inventing something and more like uncovering something that was already there.

Thanks for taking the time to check out our work. We hope you enjoy the film as much as we enjoyed making it.

Cheers,
Luca & The Lost Boy collective