The Journey is the Sound: How I Build My Musical Puzzles
In the world of underground music, there’s often a pressure to pick a lane and stay in it. But for me, the process has always been about following the flow of my thoughts rather than a genre map. Whether I’m diving into heavy riffs or experimental avant-garde soundscapes, my goal is the same: to enjoy the journey of creation without obsessing over the final outcome.
Finding the “Touch” with Vecraft
The moment this philosophy really clicked for me was during my first project, Vecraft, specifically while working on the album The Raft. At the time, I was immersed in punk, speed metal, and thrash. I had recorded the tracks, but when I listened back, it felt too casual—just basic riffs that didn’t have a soul.
To fix that, I started adding more of myself. I began experimenting with:
MIDI layers using my keyboard.
Physical guitar textures, like clicking on the bridge to create percussive noises.
Aggressive pinch harmonics and unconventional layering.
That was the turning point. I realized I wanted to make music that you have to “dig” into to truly enjoy—something that sticks in your mind because of its depth, not just a catchy hook.
The Art of the Sonic Puzzle
My creative process usually starts with a single spark. If I want to make a metal release, I’ll start by improvising riffs and recording them, layering rhythm and lead guitars until the foundation is solid.
But other times, I want pure experimentation. For the GrossoBalia release, I stepped away from traditional instruments and “winged it” with:
Household utensils.
Harmonicas and flute recorders.
Field recordings, including a 10-minute walk I recorded between two points (Place A and Place B).
By mixing these environmental sounds with music, the track becomes a puzzle. It’s about creating an atmosphere that feels like a lived experience.
Roots and Evolution
My influences are all over the place. I might take inspiration from the shredding of Buckethead, the dark atmosphere of Dissection, or the raw, experimental folk of The Microphones and Mount Eerie. Recently, I’ve been exploring the technicality of math rock and the raw energy of Midwest emo.
People often ask how I jump between these styles. The truth is, whether I’m playing prog rock, jazz, or metal, it always has my specific “touch.” I don’t set out to make a “pure” jazz album; I make an album that sounds like me exploring jazz.
I always return to my roots in metal and experimentation—those are the poles of my artistic journey. But as long as I’m enjoying the process of adding, removing, and building sounds, the genre doesn’t matter. The music is simply a record of the journey.