[What I once said] With a professional musician/producer for a father, a mother who trained in classical violin as a youth, a grandmother who trained in classical piano, and a grandfather who was a classically-trained singer and music minister, time signatures should have been encoded in my DNA. But, despite years of piano lessons, and having a heavy background in music, twenty-four hour exposure to it (even helping to record sessions at the studio), and an appreciation for many different styles, when I started writing music for my film ideas at sixteen, my sense of time was, shall we say, cryptic. Music melded with film formed its own sense of time for me. I have matured significantly since then, but the soundscores I write remain a matter of conversation with the image.
Though I'm familiar with the works of many composers for film, at the beginning, due my interest in horror, I was heavily influenced by the scores of late ‘60s and early ‘80s European horror cinema (Fabio Frizzi, Goblin, etc), which will be obvious in the earlier tracks.
[An update on what I once said] Since the writing of this section, my interests have shifted again to a more conceptual form of noisemaking. This came in light of learning about Japanese noise acts like The Gerogerigegege, which leaned more on modern art with some of their releases like the albums Art Is Over, Recycled, and Shaking Box Music: You Are The Noise Maker. I haven’t put an octopus tentacle in a cassette box just yet.
For those who are curious, I used to write in GarageBand but have switched over to Logic.
Below are my soundtracks, experimental music, and some cover music I've done as well.