Throwing out the "old school" or more traditional musical conventions, which often emphasize melody, established patterns, and harmony, I am embracing a bold new direction focused on experimentation with sound manipulation. This shift is not merely a rejection of the past; rather, it acts as a springboard, utilizing my own previous creations as foundational building blocks—elements that inform my current explorations and inspire innovative approaches. With this methodology, I aim to uncover a new and refreshing way to craft sound into a captivating narrative that envelops the listener. The essence of my work is to deliberately warp perceptions, effectively challenging listeners to question their understanding of music and sound. I engage in a playful deconstruction of the musical aspects typically associated with sonic narratives. For instance, rather than relying on traditional chord progressions or predictable rhythms, I experiment with unexpected sonic textures and unconventional sound sources. By layering recordings of everyday objects or manipulating digital samples, I create a tapestry of sound that invites exploration and curiosity. This approach not only reinvents the listener's experience but also broadens the conceptual boundaries of what music can be, encouraging a deeper engagement with sound as a form of storytelling. Incorporating some vintage text-to-speech segments, I am embracing a creative endeavor where I infuse these segments with an abundance of bizarre effects and intricate engineering techniques. This approach is not merely about rehashing existing narratives; rather, it serves as a unique opportunity to reconstruct stories that have been explored in the past from fresh, innovative angles. For instance, by altering pitch, adding echoes, and employing unexpected soundscapes, I aim to transform familiar voices into haunting echoes or whimsical figures that challenge the listener’s perceptions. My goal is fundamentally rooted in the desire to shed new light on the processes involved in narrative construction as well as the narratives themselves. By manipulating the auditory landscape, I can highlight the emotional undercurrents or absurdities that may have gone unnoticed in their original forms. This is akin to seeing a painting under different lighting—elements that were once subtle may now stand out vibrantly, offering audiences a chance to engage with content that they thought they understood. Through this playful yet thoughtful reengineering of sound, I hope to invite listeners not only to reconsider what they know but also to explore the myriad possibilities of storytelling that emerge when we allow creativity to take the lead.
