Disaster, please!

I grew up in a musical household in Staten Island, NY.

*this is a giant, everchanging collection of micellaneous tidbits about my life and career.* On The Moniker I had a habit as a kid of creating fictional entities just so I could create visual designs.

While working on The Floor is Jelly, I really pushed myself to try some new things.

Composer Kris Lennox has taken the time to arrange a handful of pieces from It Follows for piano.

'Panacea', from Hyper Light Drifter Transcribed for Piano by David Peacock Download (PDF)

The story of one man and a daughter's quest to finish her father's life work.

When trying to negotiate an agreement as an audio contractor, it’s important to know your ideal conditions.

Involvement David loved the music I made for #FEZ and reached out to me via e-mail.

Origin Story I met game's programmer Renaud Bedard at a concert I performed in Montreal.

I sat down with my friend Richard Gould at Designing Sound to talk about some of the nuances of working on and designing the audio systems for the game Mini Metro, as well as share some early prototype footage, recordings and documents.

this is a working draft.

I was recently asked to contribute a guest mix to Kit Records: "For the last couple of years, I’ve been getting into these off-kilter, sound-collaged, groove-oriented type tracks.

from an interview originally done for WTF Magazine (no longer online) First off, could you tell us a little bit about your musical upbringing as well as your background with 8-bit media?

After working on #Mini Metro, I was inspired to convert the basic idea of its music system into a MIDI plugin.

This fell into my hands many years ago from an unknown source, and I made it look pretty and put it up at a permanent link: http://bit.ly/metricmodcalc.

Keep the city moving.

I met Ian Snyder standing on the GDC Expo Floor back in 2012.

On November 16th, 2014, I gave a workshop at the Gamer's Rhapsody Video Game Convention in St.

Folks have asked me this question many many times, and I think with good reason.

Techniques I’d like to talk about some of the techniques I explored in creating the soundtrack for Monsters Ate My Birthday Cake.

This morsel is in 4/4 time.

Nearly lost to time, this is one of the only television projects I've worked on - an animated short for Nickelodeon.

This is a demonstration of the audio system for the rain levels from 'The Floor is Jelly'.

The mundane story of four troubled persons living in the same apartment building.

Data Garden is a Philadelphia based journal, record label and events producer encouraging the discovery of electronic music through the windows of history, science and community.

A very thorough and thoughtful look at both the music and sound design in FEZ.

The Choice of FM Synthesis I had wanted to do an FM soundtrack long before FAMAZE came along.

Somewhere, our limbs lost in the distance.A film by Nicolas Menard.

originally written by Nicholas Yanes.

I spoke in San Francisco about the trajectory of chipmusic and some of the techniques that make it a unique sandbox.

Preface Using code in games to actually create music, note by note, on the fly, is an underutilized idea that has potential to add huge value to games that aren’t even focused on music, by offering an extra sense of authorship to the player’s experience.

Origin Story Putting together the remix albums for FEZ was quite fun, and it was exciting getting remixes in from people and hearing all the various takes on the material.

I gave a five minute micro-talk as part of the 'Indie Soapbox Rant', at the GDC 2013 Independent Games Summit.

Listen from 0'34" to 1'30".

This rhythmic delay technique is commonly associated with The Edge.

Like the morsel before it, this clip is another example of a common rhythm trick heard at the beginning of songs.

This is a neat little trick that you hear from time to time at the beginning of songs.

Above is a demonstration video of my music toy, January, posted by a random person.

The intro to this track has some of the most seemingly arbitrary time signature lengths I can think of, but it works to great effect and has a certain charm.

Listen from 0'07" to 0'33".

Listen from 3'04" to 3'31".

Listen from 5'09" to 5'53".

This track is a nice example of polymeter.

Listen from 3'10" to 3'50".

I spoke in San Francisco about the philosophy behind the music design in FEZ.

"ARTV, a francophone art oriented TV channel, asks artists to reinterpret their logo for their branding.

A very thorough write up that was done shortly after the release of FEZ.

I was fortunate enough to be invited down to Austin by Brandon Boyer for the Venus Patrol Launch Party at Juegos Rancheros.

Listen from 2'22" to 3'05".