Notes on the creative process forthcoming.

I sent Zach an ambient jam I made on my modular setup, the track opens with the chinese apple translate voice reciting a list of phrases in english, pulled from a random word generator. The last word was READY

Something I only realized after receiving the mixes back is that radio static was actually picked up from my interface and recorded onto the main bass stem before the song was even written or named “Radio.”

Composed a 15-minute continuous score for Erica Myat's London Fashion Week Debut. Produced using modular synthesis, op1 & additional production in the box. It's been a dream of mine to cross over into the fashion world and I’m grateful that my first work is alongside a great friend. Erica is so insanely talented, and It means the world that she trusted me with scoring the show.

I love my dear friend Eddie so much! I'm grateful that our first released collaboration is me servicing his beautiful songwriting with some piano, organ and modular sprinkles.

Notes on the creative process forthcoming.

Notes on the creative process forthcoming.

We originally wrote this song with Addison Rae in mind, but it ended up feeling too personal and special for Sophie and I not to release.

A deeply emotional and pivotal song. This is one of my favorite “first session” experiences I’ve ever had. To be honest, the session felt insignificant at first. Zach and I haphazardly put together the track, and Brooke started writing the lyrics in pen on the inside of an old book from the studio’s collection. We tracked the lead vocal then and there and never re-recorded it. Even while Ubering home that night, I didn’t feel like the song was anything special. Greg had the total opposite reaction; he told me it was “maybe the best JV song ever.” My love for the track only started growing as we finished it. As the melody and lyrics lodged themselves into my brain, the weight of what Brooke was actually saying and feeling started to deeply connect. The process of completing the song mostly consisted of Zach and I arguing over snare samples and drum patterns, while Brooke sent endless mix notes. However, once it was finished, it struck me: the heart of the music—the melody, the lyrics, the vocal take, and the title “I’m Not Crazy” remained completely unchanged from the day it was conceived.

Notes on the creative process forthcoming.

Notes on the creative process forthcoming.

So much fun writing this with Sam and Elliott. Love how quickly this one came together. I got to play live drums on this song too (very haphazardly). This was the first time live drums I’d played made it onto a final recording.

Notes on the creative process forthcoming.

Notes on the creative process forthcoming.

I made this guitar loop, Maxwell wrote an amazing song over it, Eddie structured it and added a jerk beat kick pattern

The first version of CIMC was made 5 years prior to its release, in 2018, in my shitty apartment in West Hollywood.

Notes on the creative process forthcoming.

Notes on the creative process forthcoming.

Notes on the creative process forthcoming.

The project that started it all for me. My first ever ''recording session'' was with J. I would be the first to arrive and last to leave the studio everyday. 4PM - 4AM. I had no idea what I was doing.. crazy times

While technically not the first beat of mine he ever recorded, this was the production that convinced Jaden to invite me into the album-creating process. After first meeting Jaden, I sent him 14 beats; he simply replied, “More distortion.” I made the beat in response on December 14th, 2018, and the rest was history.