Music

Erik Satie's Gnosienne No. 1, but as Doom Metal. I took the melody and played it on an 8-string guitar - the piano notes become these massive, sustained walls of distortion.

Industrial Metal. Mechanical percussion against down-tuned guitars. Heavy, grinding, but tight.

Cover of the Preservation Hall Jazz Band track, pushed into acid-jazz territory. New Orleans "Second Line" drumming with lo-fi brass samples. Laid-back and groovy.

Six minutes of slow orchestral build. Starts with a single pad and keeps adding layers. I wanted to see how much I could pile on before it felt like too much.

Cinematic trailer cue. String tremolos building to a full orchestral hit. The whole thing resolves in two minutes flat.

Main theme I wrote for the student film "Richter". Big brass melody over urgent percussion. It needed to say "earthquake disaster movie" in 38 seconds.

End credits for the animation "Ray". Solo piano with warm strings underneath. 22 seconds - short enough that every note had to count. Gentle resolution after everything that happens in the film.

Chase scene score. The percussion never lets up, and the brass hits land with each cut. Two minutes of "run faster" energy.

Combat music for a martial arts scene. Taiko drums with cinematic pacing. I wanted the hits to land with the choreography, so the rhythm drives everything.

Techno track where I experimented with polyrhythmic hi-hats against a straight kick. It sounds slightly off at first because the hi-hats and kick are on different grids. Takes a few bars to click.

Late-night warehouse techno. Rumbling low-end with vocal chops that drift in and out of the mix. I made this one at 2am and it sounds like it - dark, minimal, no polish needed.

Techno remix of the Belgian punk classic. I chopped the original vocals over a 140 BPM kick and added acid synth leads. Still feels like punk, just louder.

2000s trance throwback. Big arpeggios, wide stereo pads, four-on-the-floor beat. I grew up on this stuff and wanted to make my own version.

Downtempo electronica built from foley recordings - tapping, water, paper. The synths evolve so slowly you barely notice the track changing. Good headphone music.

Psy-trance where the filters do most of the talking. Acid basslines, echo feedback that spirals out of control, at a tempo that just makes you want to move.