I worry about composers having the laptop on them all the time, checking on what other famous composers have done, rather than thinking through with one’s own heart.
— Chou Wen-chung
 

Statement

Composing is where I daydream: I take aim at the simplest thing and treat it like gold. And I believe that all the answers lie within the music itself if we just. simply. listen.

In this way, I compose directly using the sounds from recordings that I’ve produced myself. I like to think of it as a “pan-aural” experience, where I draw from my experience as a sound designer and combine it with my background as a conservatory-trained musician.

In my work, I am both the artist and the performer. And I am passionate about creating contemporary scores drawing influence from classical opera, minimalism, jazz, and ambient electronic music. Through the sounds I coax out of instrumentalists, noise machines, kitchen appliances and field recordings, I contemplate what it means to build meaningful relationships with people. My pieces underline issues of personal freedom, depression, sexuality and spirituality by unveiling the beauty, fragility and strength of our resilience as the human species.

I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.
— JOHN CAGE
CMAC in Studio-1-2.jpg

For me, acute music production techniques are an instrument itself to create a new, dynamic hybridized sound. I compose with lush harmonies, deep pulsating rhythms and illusory ear candy, meticulously constructed, resounding together into a cohesive cinematic mosaic.

The simplicity lures the listener in, but the delicate foundation is underscored with an unsettling tension that leaves you wondering—is this all there is?