Artist Statement

My entire life has been sculpted by music; I started playing the piano at age three, and eventually graduated to electronic music production in my early teens. I was initially drawn to the concept of music production as a means of creating the songs I wanted to hear, but did not yet exist outside of my mind. From there, my desire to create expanded to include music production and performance as a service not only to myself, but to the world. Because I feel this obligation, I have unusually high standards when I write and perform; while others may consider me a ‘quick learner’ already, I nevertheless continuously make an effort to streamline my process.

Once an electronic music project of mine reaches the point where I feel it meets my standards, I experience a thrill which is difficult to describe. It is like a rush of adrenaline that courses through me when I can derive satisfaction from physically grooving to my creation for the first time. Above all else, that moment in time is what makes electronic music production worth all of the hours I put into every song I create. A driving force in my music production is the ability to create emotions with sound – or, more precisely, to take the emotions which I feel, and translate them into sound. In a sense, I think of myself and my creative outlet as a file conversion platform, facilitating the transmutation of my personal thoughts and feelings into music, a publicly-accessible format. If I am joyful, I turn to my workstation and write down a peppy, groovy tune. If I feel down, I use my music production skills as a way to vent my frustrations. The same can be said if I am angry, stressed, excited, or peaceful; whatever my emotional motivation may be, the mood of my tracks tends to match.

The way that I define a well-produced track, or a well-performed piano piece, is primarily by two criteria. The song must convey the intended ‘message,’ whether that message is an emotion, an abstract concept, or simply a certain vibe. The song must also not be distracting; the way I define ‘distracting’ is when one or more instruments in an electronic composition feel too loud, poorly mixed, or otherwise obnoxious; similarly, a piano performance with too many bum notes, faltering rhythm, and/or lack of dynamics can jar listeners out of their ‘soulful’ state, and pull them into an ‘analytical’ state instead. Fulfilling these guidelines – conveying a clear message, and creating as seamless an experience as possible – is what satisfies the vision that I seek to embody in my creative endeavors.