INTRODUCTION

Adrian Leung is an Australian/Hong Kong composer and multi-instrumentalist based in Edinburgh. With classical training from Sydney University's Conservatorium of Music and the Australian Film Television & Radio School, he has scored award-winning films featured in prestigious festivals including London Film Festival, SXSW, and BFI Flare. His notable works include "Hong Kong: City on Fire," "No More Wings," and "Happy Palace."

Under the moniker Drexler, Adrian creates contemporary classical and ambient music blending pianos, textured strings, field recordings, and electronics, with airplay on NTS, Triple J, and BBC Sounds. Named a 2025 Rising Talent by IF Magazine, he is a BAFTA Connect member and has served as a judge for the Ivor Novello, APRA, and BAFTA Awards.

INTERVIEW

How did you get into music? What initially inspired you?

Like many Chinese kids, I was encouraged (or rather, made!) by my parents to learn the piano and violin at an early age. It quickly became something I did—and something I was semi good at. However, it wasn’t until my teenage years, when I started writing songs, that I connected with music on a deeper level. Creating and expressing myself through music became a new cathartic experience. From there, I started playing in bands and eventually discovered that I could build a career writing music for films, ads and other media while collaborating with creative people.

What themes do you tend to interrogate in your creative practice?

IMy music is mostly instrumental, so I like to keep interpretation as open as possible. I release music under the name Drexler, and my first record explored themes of new beginnings and rebirth. My next record will delve into themes of miscarriage, grief, and recovery.

What is your favourite project you’ve ever worked on and why?

Alongside my Drexler project, I compose music for film and TV. One of the most enjoyable projects I’ve worked on was Happy Palace, a Dutch dark dramedy about a Chinese family. The film blended family drama with absurd humour—and even featured an evil triad aunt who the family ends up owing money to.

For the score, I immersed myself in various Chinese music styles, including Cantopop, Beijing opera, kuaiban (an ancient musical storytelling style), and traditional drumming. I incorporated elements from each and reshaped them into something contemporary that reflected the two main characters, who were second-generation immigrants. I also had the chance to sample one of Pianodrome’s installations in Ocean Terminal, which was brilliant.

This project was particularly meaningful to me because it was one of the first Dutch films told from an East Asian perspective. I love working on projects that carry deeper cultural significance and resonate with communities beyond just the immediate audience.

What advice would you have for creatives of colour looking to get into design and writing?

Tap into whatever makes you you—your identity, your experiences, and the things that set you apart. Use them to create something truly unique and original. It’s easier said than done, but I believe audiences and music lovers will always be drawn to that kind of authenticity. And as my mum would say… work hard and don’t give up! 

What are you currently working on?

I’ve just finished scoring a BBC documentary about Michelle Mone and am about to start working on a short documentary for Netflix by my director friend Eilidh Munro. I’m also working on my next Drexler record, which, as I mentioned earlier, explores themes of miscarriage, grief, and recovery.