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When you take on an anthem as globally iconic as “Eye of the Tiger,” the stakes are incredibly high. But at last year’s Music+Sound Awards, composer and artist Alexandra (performing as FJØRA) took home the award for Best Re-Record in a Film, Series or Programme for doing just that – stripping away the ’80s rock identity of the track to uncover the dark, cinematic heart needed for the TV show Paradise.
Known for her signature “Cinematronic” sound, a seamless blend of raw orchestral power and gritty electronic production, Alexandra’s diverse career spans everything from video game themes and trailers to major television scores. Fresh off the massive success of scoring AMC Acorn TV’s hit series You’re Killing Me, she sat down with us to discuss the creative risks behind her award-winning re-record, the delicate balance between technology and human emotion, and the quiet confidence it takes to carve out a unique voice in the industry today….
MASA: Winning Best Re-Record in a Film, Series or Programme at the 2025 Music+Sound Awards was a massive industry nod. Looking at the landscape of your career since then what has this specific recognition meant for you professionally?
ALEXANDRA: Thank you so much, I really appreciate that. Being recognised by my peers and creatives whom I personally hold in such high regard means a great deal to me. Winning this award alongside my collaborator and friend Tommee Profitt feels like a meaningful, tangible solidification of all the hard work, time, and care that went into creating the reimagination of Eye of the Tiger. It’s one of those moments that quietly affirms you’re on the right path, and that the risks you take creatively are being understood and received.
MASA: Your win celebrated a very specific, high-level skill: taking a cultural staple like ‘Eye of the Tiger’ and making it feel brand new. When you were reimagining it for Paradise what was the biggest creative hurdle you faced in stripping away the original’s ’80s rock identity to find the dark, cinematic heart needed for the show?
ALEXANDRA: This was truly a collaborative process with Tommee – he absolutely slays the cinematic space, and his production is always of the highest caliber. Since my artist project, FJØRA, is rooted in that “cinematronic” sound – cinematic electronic – it felt like a very natural creative alignment.
When approaching Eye of the Tiger, the core challenge was maintaining the integrity of such a recognisable and iconic song, while presenting it in a completely fresh way. It became about threading that needle between honouring the song’s identity and introducing our own sonic language.
In the studio, we leaned heavily into contrast – exploring light and dark, tension and release. There are these more aggressive, dramatic hit points that sit alongside soaring, emotive melodic moments. It was really about reshaping the emotional architecture of the song without losing its DNA.
MASA: Can you give us a snapshot of your career path to date? Was there a specific project or pivotal moment that acted as the launchpad for the high-profile work you’re doing today?
ALEXANDRA: I’ve been incredibly fortunate to work with amazing mentors, collaborators, and creatives throughout my career. Each relationship has led to unexpected and rewarding opportunities – it’s almost like a domino effect where every experience connects to the next.
My life has always been rooted in music storytelling. From classical piano in my formative years, to ensemble work, touring, songwriting, and producing, to working in trailers, video game themes, soundtracks, and commercials – and now composing, scoring, and writing for longer-form film and series – each space has informed the other.
There have definitely been standout moments along the way that acted as launchpads, but I think what a career really becomes is a collection of pivotal moments that weave together into something larger.
On a more personal level, one of the most pivotal shifts for me has been learning how to have confidence in myself and my abilities. I say “learning” because it doesn’t really come all that naturally. For me, confidence has come from the quieter, in-between moments – honing my craft, solidifying my voice, and carving out space for myself. It’s not the most glamorous answer, but it’s been fundamental in allowing me to pursue the opportunities I might have otherwise held back from.
MASA: You’re known for a ‘Cinematronic’ sound that bridges the gap between raw orchestral performance and gritty electronic production. What is the most important lesson you’ve learned about maintaining the ‘human’ element in a heavily processed score? How do you ensure the technology never overshadows the emotion?
ALEXANDRA: That’s such a great question. Honestly, it varies case by case. What’s important to remember is that the “human” element – what that sounds and feels like – is inherently subjective. What feels human to me might land differently for someone else.
Technology itself can also create incredibly emotive soundscapes, and I love exploring that duality. Rather than separating things into “human versus machine,” I try to find both humanity and otherness across the entire spectrum. It’s less about control and more about balance – letting each element serve the emotional intention of the piece.
MASA: What does your current slate look like? Can you share a bit about the projects you are currently developing or any upcoming music that you’re particularly excited to bring to audiences in the coming year?
ALEXANDRA: For sure. I recently had the premiere for AMC Acorn TV’s series You’re Killing Me, which is executive produced by and stars Brooke Shields. I composed the score, created the main theme, and wrote, produced, and performed custom songs for the soundtrack. AMC just announced that it’s become Acorn TV’s #1 series launch of all time, which is incredibly exciting – and it’s already been renewed for a second season.
I’m currently scoring both a feature film and a feature documentary, and I’ve also been working with a show – one I can’t quite name yet – on crafting bespoke reimaginings of songs.
Looking ahead, I’m especially excited to be scoring an upcoming dystopian sci-fi thriller, where I’ll have the opportunity to work with an orchestra, which is always such a gift. And this summer, I’ll be heading to Comic-Con to speak on the Hollywood Game Changers panel.
Feeling genuinely grateful for everything that’s unfolding, and really excited for what’s ahead.
MASA: Winning Best Re-Record in a Film, Series or Programme at the 2025 Music+Sound Awards was a massive industry nod. Looking at the landscape of your career since then what has this specific recognition meant for you professionally?
ALEXANDRA: Thank you so much, I really appreciate that. Being recognised by my peers and creatives whom I personally hold in such high regard means a great deal to me. Winning this award alongside my collaborator and friend Tommee Profitt feels like a meaningful, tangible solidification of all the hard work, time, and care that went into creating the reimagination of Eye of the Tiger. It’s one of those moments that quietly affirms you’re on the right path, and that the risks you take creatively are being understood and received.
MASA: Your win celebrated a very specific, high-level skill: taking a cultural staple like ‘Eye of the Tiger’ and making it feel brand new. When you were reimagining it for Paradise what was the biggest creative hurdle you faced in stripping away the original’s ’80s rock identity to find the dark, cinematic heart needed for the show?
ALEXANDRA: This was truly a collaborative process with Tommee – he absolutely slays the cinematic space, and his production is always of the highest caliber. Since my artist project, FJØRA, is rooted in that “cinematronic” sound – cinematic electronic – it felt like a very natural creative alignment.
When approaching Eye of the Tiger, the core challenge was maintaining the integrity of such a recognisable and iconic song, while presenting it in a completely fresh way. It became about threading that needle between honouring the song’s identity and introducing our own sonic language.
In the studio, we leaned heavily into contrast – exploring light and dark, tension and release. There are these more aggressive, dramatic hit points that sit alongside soaring, emotive melodic moments. It was really about reshaping the emotional architecture of the song without losing its DNA.
MASA: Can you give us a snapshot of your career path to date? Was there a specific project or pivotal moment that acted as the launchpad for the high-profile work you’re doing today?
ALEXANDRA: I’ve been incredibly fortunate to work with amazing mentors, collaborators, and creatives throughout my career. Each relationship has led to unexpected and rewarding opportunities – it’s almost like a domino effect where every experience connects to the next.
My life has always been rooted in music storytelling. From classical piano in my formative years, to ensemble work, touring, songwriting, and producing, to working in trailers, video game themes, soundtracks, and commercials – and now composing, scoring, and writing for longer-form film and series – each space has informed the other.
There have definitely been standout moments along the way that acted as launchpads, but I think what a career really becomes is a collection of pivotal moments that weave together into something larger.
On a more personal level, one of the most pivotal shifts for me has been learning how to have confidence in myself and my abilities. I say “learning” because it doesn’t really come all that naturally. For me, confidence has come from the quieter, in-between moments – honing my craft, solidifying my voice, and carving out space for myself. It’s not the most glamorous answer, but it’s been fundamental in allowing me to pursue the opportunities I might have otherwise held back from.
MASA: You’re known for a ‘Cinematronic’ sound that bridges the gap between raw orchestral performance and gritty electronic production. What is the most important lesson you’ve learned about maintaining the ‘human’ element in a heavily processed score? How do you ensure the technology never overshadows the emotion?
ALEXANDRA: That’s such a great question. Honestly, it varies case by case. What’s important to remember is that the “human” element – what that sounds and feels like – is inherently subjective. What feels human to me might land differently for someone else.
Technology itself can also create incredibly emotive soundscapes, and I love exploring that duality. Rather than separating things into “human versus machine,” I try to find both humanity and otherness across the entire spectrum. It’s less about control and more about balance – letting each element serve the emotional intention of the piece.
MASA: What does your current slate look like? Can you share a bit about the projects you are currently developing or any upcoming music that you’re particularly excited to bring to audiences in the coming year?
ALEXANDRA: For sure. I recently had the premiere for AMC Acorn TV’s series You’re Killing Me, which is executive produced by and stars Brooke Shields. I composed the score, created the main theme, and wrote, produced, and performed custom songs for the soundtrack. AMC just announced that it’s become Acorn TV’s #1 series launch of all time, which is incredibly exciting – and it’s already been renewed for a second season.
I’m currently scoring both a feature film and a feature documentary, and I’ve also been working with a show – one I can’t quite name yet – on crafting bespoke reimaginings of songs.
Looking ahead, I’m especially excited to be scoring an upcoming dystopian sci-fi thriller, where I’ll have the opportunity to work with an orchestra, which is always such a gift. And this summer, I’ll be heading to Comic-Con to speak on the Hollywood Game Changers panel.
Feeling genuinely grateful for everything that’s unfolding, and really excited for what’s ahead.
MASA: Winning Best Re-Record in a Film, Series or Programme at the 2025 Music+Sound Awards was a massive industry nod. Looking at the landscape of your career since then what has this specific recognition meant for you professionally?
ALEXANDRA: Thank you so much, I really appreciate that. Being recognised by my peers and creatives whom I personally hold in such high regard means a great deal to me. Winning this award alongside my collaborator and friend Tommee Profitt feels like a meaningful, tangible solidification of all the hard work, time, and care that went into creating the reimagination of Eye of the Tiger. It’s one of those moments that quietly affirms you’re on the right path, and that the risks you take creatively are being understood and received.
MASA: Your win celebrated a very specific, high-level skill: taking a cultural staple like ‘Eye of the Tiger’ and making it feel brand new. When you were reimagining it for Paradise what was the biggest creative hurdle you faced in stripping away the original’s ’80s rock identity to find the dark, cinematic heart needed for the show?
ALEXANDRA: This was truly a collaborative process with Tommee – he absolutely slays the cinematic space, and his production is always of the highest caliber. Since my artist project, FJØRA, is rooted in that “cinematronic” sound – cinematic electronic – it felt like a very natural creative alignment.
When approaching Eye of the Tiger, the core challenge was maintaining the integrity of such a recognisable and iconic song, while presenting it in a completely fresh way. It became about threading that needle between honouring the song’s identity and introducing our own sonic language.
In the studio, we leaned heavily into contrast – exploring light and dark, tension and release. There are these more aggressive, dramatic hit points that sit alongside soaring, emotive melodic moments. It was really about reshaping the emotional architecture of the song without losing its DNA.
MASA: Can you give us a snapshot of your career path to date? Was there a specific project or pivotal moment that acted as the launchpad for the high-profile work you’re doing today?
ALEXANDRA: I’ve been incredibly fortunate to work with amazing mentors, collaborators, and creatives throughout my career. Each relationship has led to unexpected and rewarding opportunities – it’s almost like a domino effect where every experience connects to the next.
My life has always been rooted in music storytelling. From classical piano in my formative years, to ensemble work, touring, songwriting, and producing, to working in trailers, video game themes, soundtracks, and commercials – and now composing, scoring, and writing for longer-form film and series – each space has informed the other.
There have definitely been standout moments along the way that acted as launchpads, but I think what a career really becomes is a collection of pivotal moments that weave together into something larger.
On a more personal level, one of the most pivotal shifts for me has been learning how to have confidence in myself and my abilities. I say “learning” because it doesn’t really come all that naturally. For me, confidence has come from the quieter, in-between moments – honing my craft, solidifying my voice, and carving out space for myself. It’s not the most glamorous answer, but it’s been fundamental in allowing me to pursue the opportunities I might have otherwise held back from.
MASA: You’re known for a ‘Cinematronic’ sound that bridges the gap between raw orchestral performance and gritty electronic production. What is the most important lesson you’ve learned about maintaining the ‘human’ element in a heavily processed score? How do you ensure the technology never overshadows the emotion?
ALEXANDRA: That’s such a great question. Honestly, it varies case by case. What’s important to remember is that the “human” element – what that sounds and feels like – is inherently subjective. What feels human to me might land differently for someone else.
Technology itself can also create incredibly emotive soundscapes, and I love exploring that duality. Rather than separating things into “human versus machine,” I try to find both humanity and otherness across the entire spectrum. It’s less about control and more about balance – letting each element serve the emotional intention of the piece.
MASA: What does your current slate look like? Can you share a bit about the projects you are currently developing or any upcoming music that you’re particularly excited to bring to audiences in the coming year?
ALEXANDRA: For sure. I recently had the premiere for AMC Acorn TV’s series You’re Killing Me, which is executive produced by and stars Brooke Shields. I composed the score, created the main theme, and wrote, produced, and performed custom songs for the soundtrack. AMC just announced that it’s become Acorn TV’s #1 series launch of all time, which is incredibly exciting – and it’s already been renewed for a second season.
I’m currently scoring both a feature film and a feature documentary, and I’ve also been working with a show – one I can’t quite name yet – on crafting bespoke reimaginings of songs.
Looking ahead, I’m especially excited to be scoring an upcoming dystopian sci-fi thriller, where I’ll have the opportunity to work with an orchestra, which is always such a gift. And this summer, I’ll be heading to Comic-Con to speak on the Hollywood Game Changers panel.
Feeling genuinely grateful for everything that’s unfolding, and really excited for what’s ahead.