Vienna-based composer shaping experimental electroacoustic music for media. I intertwine field recordings, acoustic instruments, and transformed organic sounds into soundscapes that move like shifting harmonies.
Vienna-based composer shaping experimental electroacoustic music for media. I intertwine field recordings, acoustic instruments, and transformed organic sounds into soundscapes that move like shifting harmonies.
My musical journey began in Tuscany with cello and piano, guided by the resonance of a first field recorder at nine and later expanded through the counterpoint of DAWs from 2015. I studied Media Composition at VMI and Experimental and Electroacoustic Music (ELAK) at mdw Vienna (graduating 2025), drawing on British, Czech, and German heritage as recurring motifs in my work.
I composed the main title theme for the game “The Infanterist” as well as " Out of Darkness, Hope" which can be heard when entering the battlefield. Other themes coming to the game soon.
This work mainly includes writing for a large orchestra, virtual programming and mixing.
Concept
A 7:40 work where field recordings from the Atlantic coast counterpoint processed timbres of the trio and timpani. The fixed media and the players interlock to timecode. Spatialisation is 5th-order Ambisonics decoded to the venue’s array.
Contributions
Technical notes
This is an unofficial/ fan track( in b phrygian) composed by Oliver Harding and myself as a fan contribution to the character Basim, from AC Valhalla for the upcoming game AC Mirage back in 2022.
I am proud to share my Re-Score of the Spitfire “Albion Colossus” Trailer for the #colossusrescore competition.
I used the following recordings of mine and sample libraries:
French Oboe Recordings
Cello Recordings
Albion ONE Loops
Albion Solstice Guitars
Albion NEO Strings
Albion UIST Strings
Spitfire Trailer Giant
Native Instruments Ashlight
Groth
Babyaudio Atoms
This was my contribution to the 2023 BIFSC competition:
Here is my entry to the BIFSC 2025 scoring competition.
I mainly used percussive elements as well as flutes in this Ghost of Tsushima inspired track.
This ambience track I composed using my own field recordings of the sea and cicadas in Croatia, then finally combined it with violin and Duduk recordings I had originally done for other projects. Using simple audio techniques such as pitching and stretching, I was able to work with very little material.
For this fan soundtrack of the film Tenet I layered multiple synthesised sounds,
For this fan piece I used one synthesiser.
This was my score for the “FFM scoring competition” of 2022, where I used a combination of orchestral elements, that I processed to sound like synthesisers.
All the rights of the video go to FFM.
Film Music for Ani Novakovic's Batshit Spielunking
Film Music for Nick Pasveer's Symphnie einer Stadt
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