Strange tactile sounds are a passion of mine, things you can touch and feel. In the right context they evoke emotion and movement. For the piece above I used a field recording I took in the forest where a few days a year hard, thick leaves gently trickle down the canopy and onto the bushes below. This texture inspired the rest of the composition, beautiful, ominous, decaying and breaking.

I love working with found sounds and Blushing Gold is absolutely littered with them. Coins spinning, paper crackling and birdcalls in the distance. Also the unconventional use of instruments like bowed electric bass or a mangled melodica get featured in this piece. It builds up, twists and turns with the layers that get added and peeled off. All this experimental but soothing noise moves to a more kinetic energy in the middle where the pulse comes in and doesn't leave till the end. This piece really does so many of the things I like being gentle, lush, playful and driving sequentially and at the same time. It's a great listen if you have the time.

Symphony of Now was made at the start of the pandemic with three co-creators from Uganda that were in the country the year before. I went rogue and used a voice memo that was ment as feedback in the score in the beginning of this piece. It functions as a subtle narrative tool that you might pick up some words from as a listener or none. I pick up the word 'vibe' which is exactly what it was going for.

As an electronic musician rhythm plays a pivotal role in my compositions. A tool that can be useful and dangerous, you don't want to overpower the dance. This score was made for Anne Suurendonk, who choreographs with a strong sense of musicality. In this case the challenge wasn't to overpower but to keep up. This piece shifts to three different worlds over the course of a few minutes and functioned as the finale.

These are the most complex pieces to write but also the most simple in execution. Vulnerability and honesty is difficult to put into a recording. Ever since I started composing I have been trying to put the human inside of the machine. This piece from Run Quiet, a piece about domestic violence, displays this perfectly I think. This process required a lot of restraint, doing less on every metric.

Stillness and introspection are themes I enjoy working with even though they are paradoxical in music. These themes generally require a lack of sound not a presence of it. To capture the essence of things that can't be heard or seen in music is just magical.

I adore non-western music. Which, to be frank, is most of the music that exists we just don't hear it that much. I am strongly influenced by tribal music in my rhythms and vocal work. In the piece above I was commissioned by Cheroney Pelupessy to make a piece of music inspired by her Moluccan roots. The chant, saya pulang, translates: 'I'm home', which we found through the phonetic chanting I did on the original demo. Because of the amount of world music I've listened to there is a non-western logic and feel that I just resonate with and that comes intuitively. 

This piece is a blend of south east Asian influences (I looked far and wide for a flute that sounded right), afro-latin influences on a warm bed of western chords/harmonics. These pieces are such a joy to work on because of the sense of adventure, pulse and trance they bring.

Trance is a key part of dance, a state of flow. I enjoy playing with these mechanics through my background in techno music and bringing it to the stage. For portfolio purposes this is a tedious element to present since it has so much to do with time. The piece I've presented above is one of my most recent furores in this style of composition. Judging by my plays on Spotify I would say this is my strong suit. Tracks like Now and Afstand have been licensed multiple times beyond their original commission.

In this presented piece I took the concept of triplets to the limit in it's repetition. Sometimes meandering off into Rhodes piano pieces embracing the jazz-esque nature of the time signature. Maintaining interest in a constantly repeating pattern puts all my skills to the test, it's an exercise in nuance, subtlety and boldness. It's like a long car ride through the wild, the scenery slowly keeps on changing the further away you get from home.

Sometimes I don't get called to make something from nothing but there is a clear starting point. In the case of this portfolio entry I was asked to 'Tommify' a piece written and sung by three students with a guitar. The piece felt a bit too directive narratively and contextually so it was my task to abstract the original composition while enhancing the original song ideas.