Simon Kölle was born and raised in Stockholm, Sweden and he already in an early age came to love stories. After years as a Playwright and Director Simon went into music wholeheartedly. Some 10+ albums later, studies in Theatre and Film Science, Dramaturgy, Writing and Film Music; Simon shifted his focus to Film Music and Music to games. Simon has worked both in the Nordic countires and Hollywood. He’s been tributed by the likes of Ennio Morricone, Oliver Stone, John Malkovich, Steven Seagal, won awards and been nominated on film festivals and he always work very closely with the Director/Client. Simon is also an accomplished writer with some 20 years of experience as a professional. Simon also from time to time work as a Producer. Founder of Tulpa Creatives.
Simon’s hobbies include being an instructor in HEMA and knife fighting, roleplaying games, Go, films, TV-series and MMA.
His greatest dream is to win an Academy Award for Best Original Score.
An old biography written 2008
written by Michael Cunningham, Irish journalist
Born in Stockholm, Sweden, in 1977 Simon Kölle soon proved at an early age to possess an adventurous spirit. A youthful indulgence in the testing of boundaries of his physical limits through acrobatic feats would later enable Simon to engage in a number of Martial Art styles, and also fencing of which he would become a proficient instructor. Simon’s father was born in Germany but subsequently moved to Sweden with his mother at the age of twelve. Here Simon’s father met and married his mother who was training in psychology. Simon’s lineage is not without an interesting history in itself; during World War II his Great Grandfather, a renowned conductor (with a father running a major music school), was saved from certain execution, for the part he had played in successfully delivering a number of Jews out from the shadow of the Reich, by none other than Herman Göring. Simon’s Great Grandfather had served with Göring during the First World War and it seems that old association, in turn, spared him.
Parallel to a keen sense and appreciation of the history and folklore of his surroundings also ran an acute interest in music realized through furtive ventures into song writing, composition and, of course, playing
Throughout his life Simon has nurtured a fascination with stories and tales grounded in both historical truths and works of fantastical fiction. As a result Simon has developed a keen sense and appreciation of not only the history of his surroundings, but also the folklore they are steeped in. Parallel to this also ran an acute interest in music realized through furtive ventures into song writing, composition and, of course, playing. Among Simon’s esteemed peers is Rami Yacoub whose later collaboration with Max Martin would produce the song ‘Hit Me Baby One More Time’ – now familiar as the track that launched the career of pop songstress Britney Spears! Other friends from childhood include luminaries of the Black and Avant-Garde Metal scene in Scandinavia, namely Yusaf Parvez and Guillaume le Huche who have played with Dödheimsgard and Katatonia respectively, contributing much to those groups amongst others.
Simon’s later teenage years saw a possible exemplary career in soccer ending abruptly through, of all things, a contractual disagreement however this turn of events would lead to Simon enrolling in Theatre School where he found a subject in which he reveled and excelled through the development of Physical Theatre. Informed by Grotowski and Artaud the conclusion of his theatre studies Simon unveiled his first play, ‘Ögonen – min trägård’ (The Eyes – My Garden) in which a cast of sixteen actors conveyed a disturbing drama engaging the societal aspects of disillusion, religion and masks. The play went on to become a minor hit in Sweden and enjoyed a limited tour. This success prompted Simon to enroll in the study of Theatre at Stockholm University. Here he became the artistic director of ‘418’ ; a collective of fellow artists and performers. His next theatrical venture was to write and direct a second play ‘Faller Himlen ned?’ (Is the Sky falling down?) which played in Sweden to encouraging reviews from the local press, including Dagens Nyheter who described the play as a mixture of both ‘scary and genius!’. The play would act as a medium through which Simon was able to introduce music of a style hitherto unheard or reproduced in Swedish Theatre. ‘Faller…’ became a hit on Spegel Teatern but due to performance commitments it played for only a short while.
Simon has been able to progress his music through other subjects from the folkloric horror of vampires to the esoteric musings of the arcane
Some travelling through Europe followed which permitted Simon to explore a wider canvas of experience but he maintained his forays into writing; a further play ‘Beroende’ (Addiction) which, while not as successful as his earlier creations, nevertheless added to his creative development and growth. Though some further compositions and directing credits, which also saw a film project involving some of Scandinavia’s leading lights sadly stall, were added to Simon’s endeavors he always retained his interest in music and in 2000 he formed the musical project, Za Frûmi along with Simon Heath and Donald Person (whom later on had to leave). Za Frûmi instills the essence of theatre; driven by field-recordings, narrative dialogue and complex musical arrangements that all coalesce to allow a potent form of aural drama to evolve. While the initial kernel of a number of Za Frûmi’s works were the literary stories of JRR Tolkien, Simon has been able to progress his music through other subjects from the folkloric horror of vampires to the esoteric musings of the arcane. Simon’s work has not been restricted to Za Frûmi however and he continues to involve himself in a number of musical projects such as Abnocto and Musterion as well as lending his talents to creating individual musical compositions for films, websites and fellow musicians.
Simon has also written over thirty plays and live role-plays since 1999 and maintains his work with theatre workshops such as ‘418’. Where Simon’s work is becoming more prominent is within the context of cinematic music – oft an overlooked genre, yet many cinematic scores can become just as synonymous with their narrative canvases as key scenes or actors. Directors such as Ennio Morricone and Oliver Stone, whose scores (or influence in the case of Stone) respectively for The Good, The Bad and The Ugly and Natural Born Killers have projected the function of the score forward into the realm of emotive enactor rather than merely that of background music. Such a factor is also evident in Simon’s scores and this has been recognized and enjoyed by those very two directors where his use of composition is not redundant within the narrative but central to it. In 2007 Simon & Simon Heath’s composition, Interludium I, was performed live by the Swedish Radio Orchestra in Skansen with 110 musicians.
The overriding merits evident in Simon’s works are those of conviction and vision backed a solid musical and theatrical intuitiveness – the result of which is represented by a vast and varied corpus that competently conveys the undercurrents of lore and beliefs that mould society, both ancient and more recent, upon an audience who are thus able to crystallize and wrap themselves in the compositions. Many artists try to achieve such a connection between their work and audience: Simon remains one of the foremost and pioneering craftsmen in his genre and his multitude of works, be they musical or theatre (or both in some cases) give voice to this.