Clément Souchier founds Creaminal, one of the first independent players in music supervision in France, which quickly gains a strong visibility thanks to the success of the series Clara Sheller on France Télévision, whose original soundtrack is composed by Chassol and supervised by Creaminal.
Creaminal soon establishes itself in the film and series industry and successively works with directors Olivier Nakache and Eric Toledano for their feature film Tellement Proches, then the cult Swedish film Sound of Noise (nominated for the Cannes Film Festival’s Semaine de la Critique), whose score is written by Fred Avril. Next comes the highly acclaimed feature film Notre Jour Viendra (Our Day Will Come) by Romain Gavras, with a soundtrack composed by SebastiAn with the participation of Chassol.
Creaminal supervises the score of the Franco-Belgian animated film Zarafa, composed by Laurent Perez del Mar, and ensures the music supervision of the series Les Revenants (The Returned), which receives numerous awards: Emmy Award, Globe de Cristal…
While working with Michel Gondry on the musical direction of his film adaptation of Boris Vian’s Froth on the Daydream (L’écume des jours), Creaminal gains significant recognition for its first synchronization in an advertising campaign for Dior Eau Sauvage with a powerful cover of the standard I’m a man by Arnaud Rebotini’s band Black Strobe who will accompany the brand for 6 years.
This is followed by another campaign for Ubisoft Assassin’s Creed IV Black Flag with an original soundtrack by Son Lux, then a second collaboration between the same artist and Dior as part of the Genesis Men campaign with the song Flickers (Club des DA Bronze Award).
By synchronizing Gesaffelstein and Brodinski on two Citroën campaigns, Creaminal choses experimental, underground electronic music, developing the use of non-mainstream artists in advertising and making electronic music more accessible to a mainstream audience.
Creaminal supervises the soundtrack of the award-winning animated film The Red Turtle by Michael Dudok De Wit, Studio Ghibli’s first feature film directed by someone other than Hayao Miyazaki. It is composed by rising film music star Laurent Perez del Mar. The film wins multiple prizes, notably the highly respected ‘Un Certain Regard’ award at the Cannes Film Festival and at the Annie Awards, and nominated as Best Animated Film at the Oscars and the Césars. The soundtrack gains millions of streams.
Creaminal also signs two of the most outstanding advertising syncs that year : Tiger Rhythm by Surkin for the Apple Don’t Blink campaign which sets the trend for many years to come in terms of text animation associated with frenetic rhythm; as well as the sync of Ordinary Tribe by The Everlasters in the pick-up Mercedes launch campaign which became a reference for the upcoming years within the automobile advertising sector.
With its own studio, Creaminal ventures into custom sound design, further enhancing its creative capabilities, such as the Renault La Ferveur campaign soundtrack (Grand Prix Stratégies Bronze award).
Creaminal deepens its collaborations with luxury brands like Chanel, Dior, Hermès, and many others, providing comprehensive music guidance and counseling, including for the brands fashion shows.
Due to its status as an independent player with strong expertise, brands now turn directly to Creaminal to support their musical needs.
After getting closer to the Alter K Music group, Creaminal continues to develop its independence and expertise in curation, consulting and musical artistic direction as well as its legal support for luxury brands.
Pursuing its look out for musical, technological and legal advancements, Creaminal remains at the forefront of global and local trends, catering to the emerging needs of its clients.