Robinton Hobbs
Master of Melodies
Hi, I’m Robinton Hobbs, an international musical artist, composer, music editor, and producer specializing in musical worldbuilding for mythic, historical, and immersive storytelling.
I began my musical life playing in rock bands and producing basement punk records before finding my way into music for film, television, games, and other narrative media. Whatever the format, I’m drawn to projects with a strong sense of identity—stories with worlds to explore, atmospheres to inhabit, and something meaningful happening beneath the surface. My goal is always to create music that feels inseparable from that world while making the collaborative process thoughtful, enjoyable, and creatively rewarding.
I’m also the founder of World Tree Studios, a boutique music studio creating bespoke soundtracks for tabletop games, roleplaying worlds, novels, and other imagined realms. Through World Tree, I work with creators to give their worlds a musical identity—whether that means a single defining theme, an immersive companion album, or a larger score woven throughout the audience experience.
As co-founder of Joy Music House, I’ve spent more than a decade working across composition, music editing, live recording, and score production. My credits include producing Emile Mosseri’s Oscar-nominated score for Minari and serving as music editor for the Netflix docuseries Untold. My own recent work includes the score for the horror festival standout VINES, the cinematic solo album February Mountain, and the original soundtracks for The Witch and Other Tales of the American Gothic.
When I’m not making music, I can usually be found studying medieval history, inventing languages, or playing Dungeons & Dragons
Tired of taking responsibility for your own actions? It’s cool, just blame the devil.
I’m incredibly excited to share “Call Me the Devil,” a new track I produced with Zoë Lustri.
Originally written by Zoë and Ashley Kalina as a dark-pop anthem, the song needed a more aggressive hard-rock edge to fully come alive. Zoë brought me in to push it in that direction, and I rebuilt the instrumental with rock-oriented drums and entirely new guitar and bass parts. Zoë and I then reunited in London to mix the final version together.
The result retains the haunting dark-pop atmosphere of the verses, but hits with powerful rock energy when the choruses and bridge kick in.
The Latest ->
Call Me The Devil
February Mountain
A Musical Journey Through Time & Memory
At its heart, February Mountain is a cinematic folk-punk journey, blending haunting acoustic textures, driving rhythms, and moments of quiet awe. The album is steeped in poetic nostalgia, adventure, and existential wonder, moving through landscapes both real and imagined. You’ll hear the hush of ancient forests, the roar of time-worn ruins, and the crackling energy of stories passed down through generations.
A Sound Both Timeless & Raw
The sound of February Mountain is expansive but deeply intimate. Fingerpicked guitars and earthy percussion lay the foundation, while sweeping strings, distant voices, and eerie, reverb-soaked atmospheres push the songs into something vast and cinematic.
There’s a grit to the album—an edge that leans into punk’s raw urgency—yet it never loses its folk heart. The melodies feel etched in stone, like echoes from another time, while the arrangements breathe with organic life, shifting between delicate reverence and stormy intensity.