About

Growing up, car rides meant Joe Satriani and Steve Vai—instrumental guitar that painted pictures without words. That shifted into alternative rock, skateboarding culture, and the raw energy of Limp Bizkit, System of a Down, Rage Against the Machine, and Deftones. But the playlist was never one-dimensional: Lady Gaga, Missy Elliott, Eminem, even eastern bands like The Gazette with their heavy musicianship and melodies—anything with a fresh beat, bold production, or unique flows whether in the vocals or the music made the cut.

My dad filled the gaps with alternative and progressive music, exposing me to sounds that didn't fit neat boxes. Music ran through the family—one grandpa played ukulele, the other accordion, my dad guitar, and my grandma was a piano teacher. But for me, piano lessons came early and left just as fast. Guitar stuck around longer—learned enough to play a few chords and fumble through bits of "Cliffs of Dover" before realizing I wanted to experiment with combining sounds and instruments more than sticking to playing one. Sang and screamed in a band for a bit—that wasn't it either.

Middle of college, deep in a World of Warcraft addiction (occasionally influencing close friends to skip class to grind arena or raid), I got into Basement Jaxx, The Prodigy, Deadmau5, Pendulum, Skrillex, Flux Pavilion, Chase & Status, and many more. Started seeing some of these shows live, watching what's possible as one person with a computer. That's when I started a project with my roommate. We collaborated with a band from the UK, got featured in a music video—trying to blend an electronic rockish wobbly sound with rap. Had no idea what I was doing mixing-wise, but the vision was there.

Through all of that, what really clicked was music production itself—the building aspect of sound design, the architecture of a track or set of sounds. The ability to save work and come back to it, iterate without performing. No interest in DJing, just experimenting, layering, shaping. To this day, still work primarily by ear, still overly rely on the piano roll to get things done, still figuring out what's in key or not. Life pulled me away as I got into startups, coding, and marketing tech—work that helped me make a living up through now. Music became on-and-off. But that work, with all its writing and figuring out how words and ideas connect, helped me develop a way to think across sounds in my head while creating. Creative problem-solving just took different forms.

In recent years, something changed. It took time to actually feel the music—not just approach it as a technical puzzle, but as something alive. That's when repeat listeners became the real success marker. Not headlining shows or chasing applause, not even going out of my way to share—just knowing someone comes back to a track. Some of it's still fun as a puzzle, sure, but that's not the core. Not an engineer—a creative, a problem solver, a prototyper. Now at 36, I explore all sorts of music for interesting elements, but still prefer a bold and somewhat futuristic kind of sound and mixing approach.

The goal now is to keep making music more consistently, but primarily as inspiration hits. Not chasing anything, just building sounds that feel right in the moment—whether heavy, quiet, dark, bright, short, long, or somewhere in between. It's about capturing moments.