MUSIC

I am a music producer, engineer, and photographer based in Gainesville, Virginia. For as long as I can remember, music has not simply been sound — it has been a vessel. When I listen to the records that shaped me, I am transported into another world, carried through time and space by invisible currents. Music feels spiritual to me: a way of telling stories that transcend words, a way of holding emotion in vibration. I pursue my art because I want to recreate that experience for others — to build spaces where sound and memory fuse into something unforgettable.

Storytelling, however, is not always at the center of music today. Much has been lost to immediacy and spectacle. My response is not rejection, but exploration. I search for the moments when music pierces through the noise — when it connects people deeply, when it lingers. Those are the moments I live to create.

My responsibility, as I see it, is to be authentic — to show what I believe to be beautiful, whether it's a melody, a photograph, or a fleeting spark of joy. That beauty often emerges in contrast: the warmth of nature beside the pulse of circuitry, the fragile bloom of a flower beside the metallic glow of a synthesizer. I find myself returning again and again to this war and reconciliation between Mother Earth and technology. Both shape us, and my work is an attempt to show them not as opposites, but as collaborators in tension — weaving new patterns together.

I've come to see myself less as a "careerist" and more as an artist in dialogue with the world. My path has been shaped as much by accident as by choice — the freedoms, the constraints, the limitations. These are all materials I work with, like instruments in an orchestra. What matters is what I do with what I've been given: to create something true, something that carries positive weight in the world.

Visual art is inseparable from this process. I often begin a project by envisioning its imagery before writing a single note — a landscape, a color, a texture that gives the music context and resonance. At other times it begins with a single synthesizer patch, or even just one pure tone, that opens the door to an entire world. From there, I build slowly: layering sound design, carving space, filling gaps until the idea finds its final form.

Creation, to me, is like woodcarving: at the outset, the form is unknown, hidden in the grain. Only through time, care, and attention does the shape reveal itself. I've chosen not to force a timeline, because authenticity requires patience. My projects are much the same — unpredictable, evolving, alive.

Born in Georgia, I began my musical journey with acoustic and electric guitar as a teenager, long before discovering the expansive possibilities of synthesis. In 2018, a deepening fascination with electronic sound design eventually gave rise to SYNTHWERK — the creative project that first shaped my production identity. While pursuing a Bachelor of Arts in Music Production at Berklee College of Music, I continued to refine my craft, treating music as both a lifelong education and a field of endless discovery.

SYNTHWERK was a defining chapter: a bold, cinematic exploration of the space between earth and machine, where analog warmth collided with digital precision. Its legacy — the ethos, the sonic ambitions, the core tension between nature and technology — formed the foundation for everything that followed. Today, SYNTHWERK is a closed concept, and I release music under my own name through Clear Mountain Records, my independent label and home studio in Gainesville, VA.

Synthesizers remain central to my process. They are both modern marvels and relics of a not-so-distant past — once just wires, transistors, and capacitors cobbled together in experimental labs, now endlessly versatile instruments. Working with them is intimate, almost like befriending a living entity, and getting to know an instrument's quirks and personality is as essential to me as the music it produces.

My sound spans multiple genres — rooted in indie and singer-songwriter sensibilities, shaped by the expansive world of electronic music, and moving freely between ambient, dance, and everything in between. My recent output carries the atmospheric depth of ODESZA and the psychedelic warmth of Tame Impala, two artists I count as my greatest creative touchstones. The broader constellation of influences runs deep: Bon Iver, Lane 8, Shallou, Rufus Du Sol, Young the Giant, deadmau5, OTR, and others who each demonstrate what it means to build a sound entirely your own. As Duke Ellington once said, "If it sounds good, it is good."

Technology has always been central to this work — but its role is evolving. Among the releases coming out of Clear Mountain Records are a growing body of AI-assisted tracks: concept pieces that represent the frontier of my creative experimentation.

The process is deliberate and transparent. Every song begins with me — the melody, the composition, the arrangement, the lyrics. My writing process is supported by LyricStudio, a tool I use to develop and refine my words, but the voice behind every line is my own. My productions are shaped in the studio, drawing from real recordings, live performances, and the accumulated texture of my own sonic environment. From there, Suno serves as a production collaborator — generating AI vocals, sonic textures, and sound elements that bring written concepts to life before a full traditional production commitment is made. Generative artwork rounds out these releases, extending the visual storytelling that has always been part of my process.

These tracks are best understood as release concepts — fully realized creative statements that may live as-is or serve as blueprints for deeper production down the road. Some will evolve. Some will stand on their own. The format itself is part of the experiment.

The same curiosity that drew me to synthesizers in the first place — those early machines that blurred the line between instrument and inventor — now draws me toward AI as a creative collaborator. The question was never whether to engage with new tools, but how to use them in service of something true. AI is one more instrument in the orchestra: unfamiliar, sometimes unpredictable, and full of possibility.