My music lies somewhere between Surrealism and Pop Art. As someone who loves both the classical tradition and the world of pop culture, I’ve always felt uncomfortable with stylistic hierarchies and the idea of a pure musical language. I prefer to find the points of connection between things that aren’t supposed to belong together — often to uncomfortable or disquieting effect. In the past few years, I’ve come to see my work as a kind of cultural archaeology and myth-making. A lot of my recent music uses appropriated musical and textual materials to evoke clusters of associations — places, time periods, ideologies, worldviews — while distorting and recombining them in order to create new meanings. I’m particularly interested in stories of lost memories and secret histories.
I got my BA from Yale in 2005 and my MA from the University of Michigan in 2007. My teachers have included John Heiss, Matthew Suttor, Erik Santos, Robert X. Rodriguez, Jay Alan Yim and Hans Thomalla. I’ve also released two albums of electronic music on my own microlabel, played keyboards in an indie bossa nova band, collaborated with choreographers and filmmakers, worked with young composers at the New York Youth Symphony, and put on solo voice-and-electronics shows at New York venues such as Galapagos Arts Space, the Gershwin Hotel, and the Tank. I’m currently working on my DM at Northwestern University, playing synthesizer in Ben Hjertmann’s avant-rock band The Sissy-Eared Mollycoddles, and performing post-Cagean indeterminate music with Nomi Epstein’s ensemble aperiodic.