My specialty is creating musical soundscapes for movies, theater, radio, galleries and public spaces. My works move between the genres music concréte, noise, atmospheric, soundscape and drone. I work with monotony and noise as well as I incorporate natural sound recordings and organic acoustics into my productions.
Typical forms of listener-friendliness—melodies, hooks, danceable beats—are locked away in a cabinet of static.
My soundworld is not grand or conceptually driven, it’s certainly not regulating or functional, the kind of thing that helps you focus while you read or work. There is something blissful, I think about that lack of functionality, and in the multiple sometimes-contradictory surfaces I work with: a series of overlapping sound paths leading nowhere in particular, -an reflection of the quietly wild nature of interiority/subjectivity itself?
SOUNDSTORIEScontain an extracted collection of my ambient soundwork for 30 years, 1990-2020 for radio, theatre, movie and art spaces. You will find a variety of unconventional sonic aesthetics and experimental sound design.
SOUND STORIES invites the listener to join in with an intuitive, improvisational approach and allow an element of chance to guide the experience, rather than try to be a completist or seek some sort of hierarchy.
SOUND STORIES is an audible experience of the mobile formlessness and unlimited materiality of sound.
SOUND STORIES run the full gamut from subsonic drones, evolving pads and haunting modulations to weird, surreal atmospheres. These sounds where created from processes including granular synthesis, modular synthesis, time stretch manipulation, recontextualized source material, generative composition, morphing wavetables, field recordings and many other cutting edge techniques. Sounds which span multiple genres and is perfect for getting your creativity flowing.
Questionsof belonging and migration, of environmental and political conflict, riddle everyday life. How to participate within this mass of information, to figure oneself in relation to the presences and pressures that come flooding through each day to carry numerous identities. How to be located within the flux of multiple geographies both proximate and remote. Such contemporary conditions brings forward a shift in critical focus, requiring more situational and networked understanding, an ecology of thought and engagement.
Auditory experience is non-dualistic in terms of acting as a connective and highly associative form of knowledge: a path of understanding that often binds subjects and objects, inner and outer into a complex weave, a network that teaches us how to belong, to find place, to attune to others, as well as how not to belong, to drift, to figure acts of dislocation, and to dwell within experiences of rupture.
Soundis always already mine and not mine—I cannot hold it for long, nor can I arrest all its itinerant energy. It is based on empathy and divergence, allowing for careful understanding and deep involvement in the present.
Sound explicitly brings bodies together. It inspiers us to come out, in lyrical, and beautiful ways, creating connective moments and deepening the sense for both the present and the distant, the real and the mediated.
SOUND STORIESsuggests the intensity and grace with which sound may create a relational space, a meeting point, diffuse and yet pointed.