“Campbell's sonic imagination is keenly intuitive, and he sculpts well. A good showcase to open a Prom, I’d have thought.”  Ateş Orga, Classical Source.

Ewan’s music has “the ability to create atmosphere and colour, but also an understanding of dramatic impetus” (Bachtrack), and has been described as being “stifflingly claustrophobic” (New Dots) and having “a highly tense, even nightmarish atmosphere”. Often inspired by everyday phenomena, Ewan’s music features quotidian sounds such as the flutter of tiny wings in In the land of butterflies; the rustle of falling leaves in Exeunt; the panting of heavy breathing in Ineunt or the honks of flying geese in Frail Skies.

His cartographic scores explore a different, but also very direct relationship between music and the ‘real world’. Through an ongoing partnership with Ordnance Survey he has begun writing music directly onto existing maps ranging from London’s tube-map in London, he felt fairly certain, had always been London to a topographical map of the Glyndebourne countryside in Glynde.

Ewan's music has been awarded several international composition prizes including the New York based Counterpoint Competition, the Forme uniche Competition in Adelaide and the Italian Mare Nostrum Competition. His works have been performed by ensembles and soloists including the London Symphony Orchestra, Britten Sinfonia, Küss Quartet, Fukio Ensemble, Lontano, Ensemble Matisse, Consortium 5, The Hermes Experiment, Mercury Quartet, Dr K Sextet, Anton Lukoszevieze, Gaby Bultmann, Thomas Gould and Clare Hammond. Ewan enjoys collaborating with other art forms, and has worked with theatre maker Andrew Dawson, choreographer Katie Green, and Physical theatre company Bottlefed, film-maker Sebastian Barner-Rasmussen, and artists Issam Kourbaj and Tim A Shaw.