The Ambient Garden project builds upon my previous experiments in algorithmic art to create a musical landscape that can be heard and explored in different forms. In ambient.garden, the listener takes an active part in exploring the music laid out in a literal landscape. In the album, the same music can be head in a traditional, linear arrangement. Finally, the music's source code that can be read and built to understand its underlying design.

While the production of Arnaud Weissenburger's Old Country (2020) was never entirely finished, it remains one my favorite short films that I've worked on. Arnaud recently posted the fine cut on Vimeo. The first minute uses production music, after which I composed a progressively darkening soundscape as the film turns from mystery to horror. The original score establishes a mood with ambient folk elements, then sneaks into disturbing tone clusters and extended cello technique such as overpressure and snap pizzicatos. Check it out!

Here's a bit of retroactive posting for this neglected news page. 2020 was the second year where I scored a 48h film project: Ring Sour, directed by Ajay Rakhraj and prominently starring Graydaigh the Horse. Participating in these projects is always a fun and edifying experience, as it requires close and immediate communication between all team members. Ring Sour won Best Cinematography and Best Sound Design (for which I'll shamelessly take a small piece of the credit!) It was also my first horror production, which is the perfect genre to apply unusual composition techniques.

From the Buddhist monastery to the windswept mountaintops, Three Quests weaves a story of mystery, drama and transcendence. It was also a very interesting soundtrack to create, where I focused on instruments of Buddhist tradition including an assortment of bells and gongs, mantras and chanting, and some really large horns.

The film is screening along with 8 other shorts on May 5. Check out tickets and more info about the festival!

In this eccentric road trip movie, three brothers battle it out against the maleficent Mr. Norsecotton who chases them to claim the vintage car they inherited. I worked closely with co-composer Aaron Labbé and director Zach Silverstein to create an appropriately goofy and dramatic score. The Benz is getting another Toronto screening, this time at indiefilmTO Festival on February 17! Grab some tickets.

It's happening! We Are Like Dust will play at Ryerson University Film Festival. The short film is directed by Laura Thurlow, and features an original score I've been concocting over the past couple of weeks. In this film we follow Bea's journey to redemption as she faces her past, fighting through obsessions and remorse in dreamlike (or perhaps nightmarish) sequences.

I made use of some unusual elements in the score, including lots of glass bowls, extended cello technique, and musical train wheels. No really, train wheels make music.

Tickets are $12 and you can grab them at Eventbrite. Also check out the program to see the other films that will be screening.