Hey there. This is the bio section of my website. I’m not cool enough to have somebody else write this for me, and I’m also not going to pretend that I am by writing in the third-person.
…I just find it unbearably awkward when I read a third-person bio and think, “They obviously wrote this themselves. Did they think I wouldn’t notice?” So I’m getting ahead of it here. Now you know it’s me.
I was born in 1995 in Minneapolis, Minnesota, USA, but mostly grew up in a town near Lexington, Kentucky, where I was first introduced to drums around the age of 10. — Actually, you know what? I think I’ll skip over some stuff. You probably don’t want to know everything (and I don’t really feel like telling you everything), so how ‘bout we stick to the highlights? It’s going to sound like I’m quite arrogant, but here we go… Only the interesting stuff:
In highschool, I fell deep into the world of drumline / marching percussion, and in 2013, I performed with the WGI indoor percussion group RhythmX, winning the world championships and setting a world-record score.
After RhythmX, I “retired” from marching percussion to focus on classical/orchestral percussion—first performing in the 2013 World Youth Symphonic Orchestra at Interlochen, then going on to get a Bachelor’s in Music (Percussion) at the University of Kentucky, studying under Jim Campbell (member of the DCI Hall of Fame).
It was during my studies at UK that I really found my love for music composition, which led me to win some composition prizes and calls for scores, such as the Lexington Phiharmonic Orchestra new music experiment in 2013, the KMEA composition contest in 2015, the Portland Percussion Ensemble’s call for scores in 2015, among others. Additionally, in 2013, I published The Game of the Century (Chess for Two Percussionists) with Tapspace Publishing, a piece which is still performed reguarly by percussionists all around the world.
However, my career in contemporary music composition didn’t last long; it was quickly overshadowed by my growing obsession for electronic music. By the time I finished my studies in 2016, I was rarely writing for acoustic instruments anymore—spending most of my time composing and producing with Ableton Live instead.
In 2017, I briefly lived in Los Angeles and worked on a few TV shows before promptly realizing that I didn’t like it at all. (oops…)
In 2018, I spent about six months in the US Virgin Islands with an NGO, helping to assist people in the aftermath of hurricanes Irma and Maria.
Shortly after returning, I moved to Cologne, Germany, where I still live today.
In 2019, I started filming videos of one-take performances of my own original music, using a technique I would eventually call “Scripted Looping”. This quickly garnered the attention of Ableton, who once publically referred to my music as “airy” and “mesmerizing”! (How cool is that, right?!)
From 2020–2023, I did a master’s degree in Electroacoustic Music Composition at the Hochschule für Musik Hanns Eisler in Berlin, studying with Wolfgang Heiniger. While in Berlin, I began to write and perform acoustmatic music for Loudspeaker Orchestra, all the while continuing to develop my scripted looping performances.
In early 2023, I composed a piece called What I Know for Dr. Justin Lamb of the Eastman School of Music (along with a commissioning consortium of 17 percussionists). The research and development behind this piece went on to become the topic of my Master’s Thesis, which focuses on using Ableton Live to create automation timelines that can be imported into a standalone Max Patch via sychronized, low-resolution .wav files.
Also in 2023, I began performing my own live concerts as a solo musician. I was (and still am) totally sick of the internet, cameras and recordings of any kind, so I demonstratively refrained from filming or recording any of my concerts for the entire year. You’ll have to just take my word for it—it was fun, and I think people enjoyed it.
But as we know, the music stuff rarely ever pays the bills on its own, so in early 2024, I got myself a “real job” as a sound technician at Deutschlandfunk (German Public Radio), and have been there in part-time ever since. I love the reporting at Deutschlandfunk and generally consider it one of the best sources of news in Germany. If you listen to any of their podcasts, you may have unknowingly heard something I recorded and/or mixed. Here’s a recent episode I really enjoyed making.
For the past three years, I’ve been working on two major projects in relative secrecy:
1) a Max for Live device called CSAL, and
2) a hilariously over-engineered, custom-built hardware controller that lets me perform live improvised techno. I’ll share more on this soon, I hope.
Alright, I think that’s about it. See ya’ in a few years when I remember to update this again.
—Last updated on October 31st, 2026