My sonic work plays with the paradox of “natural/ unaltered” vs. “technological/ doctored”, blurring the distinction, while remaining critical of all forms of sonic imperialism. Drawing inspiration from disparate sources (acousmatic composition, field recording and soundscapes, minimalism to maximalism, New Music practices, traditional folk music, pop, modular synth, sound art, as well as previous study in composition and electroacoustics), I aim for a participatory experience for all involved, be it a multichannel setup, a collaborative installation, a soundtrack, or a pop album. I relish the folk tradition of storytelling in traditional performer-audience concerts. Over a decade of hitch-hiking, riding freight trains, busking, and performing acoustic music has grounded my musical focus in everyday relationships, and the power of sound to create shared ritual space across class and other arbitrary social strata.
I am interested in evoking a visceral experience of sound in different settings. This serves as my personal, if somewhat intangible, entry point into the direct experience of sound, which, on a good day, completely transmogrifies the representation of experience. In a sense, all of my work centres around experimentation and learning how to listen/ facilitate a sensitization to the sonic environment.