Alex Moulton — Creative

Hi, I'm Alex Moulton.

I work with brands and teams at the intersection of design, music, art, and technology to inspire creativity and transformation.

 

Today

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In late 2016 I joined Trollbäck+Company as Chief Creative Officer. Founded by acclaimed Swedish designer Jakob Trollbäck, our studio works with a diverse range of businesses and institutions to build strategic identities, sustainable brands, and moving experiences.

We believe in the power of beauty and logic to create impact, excitement, and unique multi-platform identities. Our thoughtful approach to design inspires deeper, more sustainable engagement that helps build a brighter, braver and more inspiring future.
— Trollbäck+Company
 

I lead an exceptional team of creative and strategic thinkers, designers, and makers. Together, we've launched initiatives for clients that include Apple, Verizon, Samsung, NBCUniversal, NFL Network, Sesame Workshop, Viacom, and Fox Networks Group, while also presenting new works at MoMA and The Rubin Museum.

 

 

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2015

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I was hired at VICE to help launch LiveNationTV. As a joint venture between Live Nation (the world's largest concert promoter) and VICE Media (the world's fastest-growing youth media brand) we conceived LNTV to be the premiere source of insider content covering the world of live music.

 

Over our 18-month startup cycle, my role grew to include oversight of brand creative and content development for video, marketing, and brand partnerships. As part of the management team, I also helped lead our bi-coastal staff and worked with executives from both companies to set and maintain strategic vision.

 

 

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2014

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Why is there no museum of music in NYC?

This question led musician and arts activist Genji Siraisi to create the Museum Of Music And Entertainment in New York City. I am a co-founder and board member of the 501(c)(3) non-profit, helping build a coalition of New Yorkers working to impact local music education, culture, and historical preservation.

MOMENT is a community organized for the purpose of creating a comprehensive history of New York City music, and supporting its vibrant music communities. Operating in tandem with educators, musicians, venues, and institutions, MOMENT celebrates music culture and diversity in the context of New York City history with the goal of inspiring young artists, and preserving a legacy of innovation and artistry.
— MOMENT NYC
 

 

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2012

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From 2012-2015, I was Executive Creative Director at design agency Eyeball, leading product launches and campaigns for Amazon, branding and marketing for New York Public Radio, rebranding several TV networks, and creating the sounds of Chase's new ATMs, among other audio branding projects.

 
 
 

In order to develop the firm's capabilities, I worked to foster growth of our strategy, design, social media, and audio teams, helping the company scale to three offices within three years. Eyeball has since merged with digital agency Modus Operandi, becoming ModOp.

 

 

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2011

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I hosted the third Audio Branding Congress, held at Columbia University. This annual event brings together experts and academics to share insights and best practices being established in the nascent field of sonic branding.

 

I set out to engage more practitioners in this growing international community after speaking at the previous Congress in Hamburg about my audio identity work with CNN. Working with the Audio Branding Academy, my staff at Expansion Team organized the conference and awards ceremony, the first of its kind in the U.S.

 
 

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2008

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While launching Expansion Team Records and executive-producing over a dozen records, I released my sci-fi disco concept album "Exodus," complete with original cover art by fantasy painting legends Boris Vallejo and Julie Bell.

 

An epic near-masterpiece of a debut... anyone curious about electronic music could do a lot worse than use it as an introduction.
— OkayPlayer
Moulton has not only met his goal of the simultaneous concept album and DJ mix— he’s exceeded it by light years.
— Pitchfork

Fulfilling many lifelong dreams over the next two years, I was invited to DJ at incredible venues that included MoMA, La Fenice opera house in Venice, Italy, and dance clubs in the U.S., Mexico, and Japan.

 
 

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2004

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Of the handful of music videos I've directed, one stands apart. Tiga's cover of Nelly's "Hot In Herre" became a genre-bending hit, supported by our absurdist clip of dancing puppets re-enacting clichés from popular rap videos.

 

The video was banned in the Czech Republic, causing all manner of headaches and great press, and ultimately became a cult fan-favorite.

 

 

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2002

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Prior to merging with Eyeball in 2012, Expansion Team was an industry-leading audio branding agency in NYC. As co-founder and creative director, I was responsible for leading all creative and strategic initiatives, artist development, staff management, and client relationships.

 

I launched the firm in 2002 with the ambitious mission to reimagine how music is created for brands — to be more authentic, more strategic, and more equitable to artists— and in the process helped pioneer a new business model for music houses serving the advertising world.

A boutique approach to commercial composing is propelling indie artist collective Expansion Team into the advertising spotlight.
— Billboard
One specialized niche in commercial composing may well be the wave of the future.
— Electronic Musician feature on Expansion Team

What began as a collective of musicians, DJs, and bands grew over ten years into an award-winning audio branding agency that was responsible for crafting the sonic strategy and identities of many beloved brands including jetBlue, Amazon Originals, CNN International, and PBS.

 

 

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2000

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I discovered the world of design while working in film production by day and music by night. By joining Eyeball (for my first run) I was exposed to a new creative discipline that blended with my passions for film and music. I was hired as a hybrid director-editor, back when the shop was just a few years old and focused primarily on animation and broadcast design. Click the link and scroll way down to see some our fun projects from those early days.

 

 

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1999

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Two years out of film school found me working on a variety of productions as an electrician, gaffer, or cinematographer. I got representation, pitched ideas to studios with my filmmaking partner and roommate Zach Braff, and worked on a lot of indie films that few people ever saw.

 
 
 

Meanwhile, I continued to DJ and play in a band, keeping hours that only a twenty-something can sustain. Our band-leader Itaal Shur co-wrote Santana's "Smooth" (the #1 song of the rock era based on Billboard's Hot 100 — but that's his story to tell) and I soon began working with his brother Limore Shur, the founder of Eyeball.

 

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Beginnings

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In 1997 I graduated from Northwestern University with a degree in Radio/TV/Film and moved to New York City with the goal of working across all three industries.

 

I'm the son of an architect and a piano teacher, but my passion for art was first defined when my family moved from Berkeley to London where I attended performing arts school. I worked professionally as an actor and singer from age 12, and took my formative late-80s experiences in the U.K. back to California where I began making home videos, early computer graphics, and bedroom electronic music.

 

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TL;DR

If you got this far and you're still looking for my professional bio and photo, you can find that here. Or feel free to say hi!