For the past several years, I have had the immense pleasure of scoring and sound designing several productions for the experiential art installation group, ARTECHOUSE. These shows featured incredible animation and visuals, framed across the walls and flooring of the venue, and all spatialized in 3D sound. I’ve had my work played at their Washington D.C., New York, and Texas operations.
Each of these productions had unique music and sound design challenges to tackle. For Ase: Afro Frequencies, the entire show was framed around a poem read by Ursula Rucker, as well as Vince Fraser’s Afro-Futurist visuals. My job was to blend pounding African rhythms and drums, with EDM tones and textures, that balanced off Rucker’s incredible poetry. Here is an excerpt of the finale of the score, sadly with the poetry redacted due to copyright reasons.
Tingle Bells was my second production with ARTECHOUSE, and it proved a unique challenge. It was a holiday show set to play simultaneously at all their venues for the 2024 season, and the main theme throughout was “ASMR.” Meaning along with scoring and sound designing the piece to work in 3D, I had to become an ASMRist! All the sounds needed to illicit feel-good relaxation, and tingles as attendees wandered through the venue.
The score however was also a very in-depth affair, as I performed a variety of rare, and exotic instruments on it. This is one of the only soundtrack scores in the world to feature the claviola, and I am quite certain it is the only score ever to have the claviola spatialized in 3D. The score also featured the harpejji, toy piano, and about seven other peculiar instruments I all recorded live. Here is the score in isolation.
While it cannot be experienced properly without a 3D audio system, here is a binaural mix of both the score and sound design.
In 2025, I was also asked to score and design some material for ARTECHOUSE’s SUBMERGE Project. Which was a collaboration between ARTECHOUSE, and NYU’s ITP Graduate Program. I scored the short “Falling in Love,” an animation by Lucas Camargo! I provided all of the music and sound design for it, which consisted of a mix of live pan flute, tin whistle, world percussion, lyre, and harpejji. Foley also involved recording a very deeply layered zipper sound effect at around 2AM in the morning.