Your Name (required)

Last Name (required)

Your Email (required)


Keith C Anderson

Latest News:

“Boss Baby: Back In Business” (scored by myself and Ryan Elder) is out on Netflix! You can watch clips from the first episode on my Television page!


You’ve reached the website of composer Ben Bromfield. My story begins with six-year-old me venturing down the block in my high top Nike sneakers (with pumps) to my first jazz piano lesson in Newton, MA. Two decades later, after graduating from Berklee College of Music, scoring over 25 films and writing music for over 15 television shows and several major brands, I still find myself wearing sneakers, although now they are Sketcher’s (how I miss those pumps). I compose many different types of music, namely: jazz, orchestral, electronica, rock and various hybrids of these four. I’ve scored dramas, comedies, horror films, documentaries and animation (I love animation—must be that inner six-year-old). To my right you’ll see an eclectic playlist of some of my current favorites, but feel free to delve deeper through the various tabs above.

Featured Playlist

In May of 2017, I began scoring the Dreamworks/Netflix series “Boss Baby: Back In Business,” with fellow composer, Ryan Elder. To the right are some clips from the first episode of the hit series for kids and adults.

One of my favorite things about scoring in general is the concept of “creating the sound” of a show (or film or game). The goal of this process is to create music that is both completely original and perfectly fitted to the show, and it often involves combining multiple existing genres of music (or ‘genre-bending’) to create something truly unique. The Boss Baby score is a great example of genre-bending, as it combines elements of hip hop, jazz, and orchestral composition, in order to match the business-savvy swagger of the main character while at the same time underscoring the high stakes drama of the situations in which he finds himself. Check out Boss Baby: Back In Business at a Netflix near you!



A lot of the music that I’ve written for more dramatic film and television is a blend of live orchestral instruments and modern electronic soundscapes, and I’m always in search of that new original sound that can bring a layer of subtle emotion to a scene. In the “Emotive” playlist to the right, you’ll hear some compositions of this kind. Meanwhile, I am also frequently approached to write exciting action music for television or video games, and my “Epic” playlist showcases some of this work. Through a big orchestral sound blended with synth effects and pulses, I love composing and producing some good ass-kicking music for fight scenes, chases and video games!

Selections from ‘Duke Karate’


Comedy is my greatest love after music. When I first moved to Los Angeles, I was almost immediately recruited by the Second City Hollywood to be a music director, where I would provide live underscore and co-write songs with some of the great talent provided by the Second City. While working at Second City, I was briefly the west-coast music director for famed comedian Jim Belushi, who I still MD for from time to time. I’ve also music directed for improvised comedy shows with some great comedic actors, such as Keegan Michael-Key (Key and Peele), Maribeth Monroe (Workaholics), and Sam Richardson (VEEP).

Since my tenure at Second City, I’ve used my experience working with these great comics to add another layer of humor to every comedy I work on. My biggest takeaway from working with Second City is the power of commitment in comedy. Often times the funniest thing a musical score can do is to take itself deadly serious. One of my playlists, titled “Selections from ‘Duke Karate,'” has some tracks from the score of a film where I used this approach. The very funny short starring Graham Beckett and directed by Matt Mazany and Ian Skalski centers around a self-proclaimed martial arts expert (Duke) who doesn’t actually know any karate. This main character seems to think he’s in a 70’s kung fu movie, and so my score to the film seeks to solidify this illusion to the audience. In this case the best way to bring out the comedy of the film was for the music to play the “straight man.”

Another form of comedy I love scoring is animated comedy. You can listen to some selections I’ve written for animation here, or you can head on over to my Animated Shorts page to watch some shorts I’ve scored in this genre!





One thing that this industry demands is versatility and the willingness to explore all sorts of genres of music. Here are playlists of some of my favorite ‘needle-drops’ I’ve written and produced, including original songs, indie-rock, jazz, and world music!


“Boss Baby: Back In Business” Dreamworks/Netflix (Composer)

“Voltron: Legendary Defender” Dreamworks/Netflix (Additional Music Composer)

“We Bare BearsTurner/Cartoon Network (Additional Music Composer)

“The 100” Warner Brothers/CW (Additional Music Composer)

“Legends” Fox Studios/TNT (Additional Music Composer)

“Modern Family” ABC Studios (Composer: Source Music)

“Pickle N’ Peanut” Disney (Additional Music Composer)

“The Lizzie Borden Chronicles” Sony Pictures/Lifetime (Additional Music Composer)

“Impastor” TVLand (Additional Music Composer)

“Franklin & Bash” Sony Pictures/TNT (Additional Music Composer)

“Californication” Showtime (Musician: Keyboards)

“Gravity Falls” Disney (Musician: Keyboards)

“Dr. Ken” Fox (Composer: Source Music)

“Rectify” Sundance Channel (Composer: Source Music)

“Things You Shouldn’t Say Past Midnight” DirecTV (Additional Music Composer)

“America’s Got Talent” NBC (Music Licensed)

“The Ghost Inside My Child” Lifetime (Music Licensed)

“Duck Dynasty” A&E (Music Licensed)

“Earth 2050: The Future of Energy” Radical Media/Discovery (Theme Music Composer)



“Borderland” (Composer)

“The Board of Education” (Composer)

“Blue Mountain State: The Rise of Thadland” Legendary (Additional Music Composer)

“The Marriage Chronicles” (Additional Music Composer)

“Reach Me” Millenium (Arranger/Orchestrator)

“Big Miracle” Universal (Synth Programmer)



Starbucks: Flat White Vs. Latte Macchiato Winter 2016 (Composer)

Bank of America Presents Skip Gates Documentary Promo (Composer)

Starbucks: Spicy Chorizo Sandwich Spring 2016 (Composer)

Brookside Chocolates: Winter 2017 (Composer)

Pizza Hut: Hardest Working Man (Composer)

American Express  Presents NBA All Stars Series – John Wall (Composer)



“Duke Karate” (Composer)

“My Name Is Lamar” (Composer)

“Trout” (Composer)

“Go-Go Boy Interrupted” (Composer)

“Self Esteem” (Composer)

“Topanga Rose” (Composer)

“The Audition” (Composer)

“He Kindly Stopped” (Composer)

“The Duel” (Composer)

“Expectations Day” (Composer)

“24 After” (Composer)

“Jeanne” (Composer)

“En Utero” (Composer)

“A Slow Day In Comedy” (Composer)

“The Mortician” (Composer)

“Dear Friend” (Composer)

“Waiting for a Stranger” (Composer)

“Team Red” (Composer)

“Love Seat” (Composer)

“Consciousness” (Composer)

“American Sweetheart” (Composer)



“Counter Strike: MUDD FORCE Music Kit” (Co-composer)

“Survival Shooter” Unity3d Tutorial Game (Composer)


Starbucks – Flat White

B of A – PBS

Starbucks – Breakfast Sandwich

Pizza Hut

American Express

I’ve had the pleasure of composing music for several brands and ad campaigns over the last six years. With the age of the classic “jingle” behind us, the challenge of music in advertisement today is to hook the audience with a great musical score without distracting or taking the focus away from the message of the ad. A hallmark of my approach is to use a live ensemble to try and capture not only the right kind of composition but also the right “vibe,” similar to that of a needle-drop or pre-existing, often vintage piece of music. One of my favorites example of this can be found in my Starbucks Flat White commercial that can be viewed on the right!

Graveyard Shift

Laika and Rover

The Wishing Cranes

My favorite TV show growing up was The Simpsons, and it was a real treat to have the opportunity to work with prolific Simpsons director, Mark Kirkland on a short film I scored called “The Audition” (written and produced by Libby Ward). The combination of humor and heart that the Simpsons has achieved continues to show what a fantastic medium animation is, and Danny Elfman’s theme as well as Alf Clausen’s score were a great inspiration to me in my early days. Animation continues to be one of my favorite mediums to work in. The 2-minute animated short “Graveyard Shift,” which was created by Lara Arikan and can be viewed on the right. It is such a fun piece of 3d animation and is one of my favorite projects I’ve worked on to date. I encourage anyone on this page to check it out!

Earth: 2050 (Discovery Channel Documentary)

Keith C Anderson

Direct Contact: