Since 2004, Pepijn Caudron a.k.a. Kreng has scored many soundtracks for dance and theater performances. His long-standing collaboration with the Belgian surrealist horror-theater company Abattoir Fermé has influenced the development of his own voice as most of these performances feature little or no dialogue, allowing the music to become an extra character that drives the narrative.
Under the name Kreng, Pepijn Caudron has also released independent work. Kreng’s peculiar world of sound drew attention from the Norwegian record label Miasmah. This resulted in the critically acclaimed album L’Autopsie Phénoménale de Dieu (2009), followed by Grimoire (2011), the lavishly designed retrospective compilation box Works For Abattoir Fermé 2007 – 2011 and the 7″ vinyl … And Then in The Morning on the Berlin-based label Sonic Pieces. The Summoner (2015), his most personal record to date, was created around the Kübler-Ross model of the five stages of grief. Belgian sludgemetalband Amenra collaborated with him on one track. German musician and composer Nils Frahm did the mastering of most of his albums.
After more than a decade of stage-related work, Caudron felt the need to change his creative environment and decided to dedicate the majority of his time to creating music for film. Since joining Redbird Music, he has scored Cooties (2015), Camino (2016), Lowlife (2017) and Karen Gillan’s directorial debut The Party’s Just Beginning (2018). In 2018, he wrote additional material and produced the OST release of Jóhann Jóhannsson’s score for Mandy by Panos Cosmatos. Caudron also scored the virtual reality video game Transference for Ubisoft, which is set for release in the fall of 2018.