I started composing music around 2023, and since then, it has become one of my favorite things to do.
I’m an extremely eclectic person. I listen to pretty much everything: experimental music, jazz, electronic music, IDM, video game and film soundtracks, VGM, ambient, electronic ambient, indie, alternative, rock, progressive rock, instrumental music, cinematic classical… In short, if a piece of music manages to convey something interesting, there’s a good chance I’ll enjoy it.
When it comes to composing, I mainly write ambient music, electronic music, video game soundtracks, epic orchestral pieces, and, in general, any kind of instrumental music that gives me the freedom to experiment with new ideas.
I’m currently part of a rock band, where I play keyboards and sing. Our biggest inspirations are The Beatles and Radiohead. I also have a solo project, and I’m currently working on my first original album, which will probably be released this year… or maybe next year.
Besides music, I also have experience with game design, environment creation, and level decoration. I’ve always been deeply involved with art in general, but especially with music and video games. I guess it was only natural that I’d end up combining the two.
This is a bit off-topic, but this year I’ve been studying programming, and next year I’ll be starting a Computer Science degree. I’m still below beginner level, but I’m really enjoying the learning process.
My biggest dream is to work as a video game soundtrack composer. And honestly, that’s exactly why I joined this platform. I’ve always wanted to be part of cool projects and help create memorable experiences through music. Money is important, of course, but it has never been the main reason I’m here.
Some of the artists and composers who inspire my work the most are:
• C418 (Minecraft)
• Ludowic (Katana ZERO)
• Toby Fox (Undertale)
• Andrew Prahlow (Outer Wilds)
• Yasunori Mitsuda (Chrono Trigger)
• Aphex Twin
• Koji Kondo (Nintendo)
• David Wise (Donkey Kong Country)
• Joe Hisaishi (Nausicaä of the Valley of the Wind)
Each of them inspires me in a different way, whether through atmosphere, creativity, storytelling, or simply by having the ability to create music that stays with you for years.
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A while ago, a friend of mine, Igor, came to me with a commission for his tabletop RPG campaign. He wanted a theme song for one of his boss characters — someone his players would eventually have to face in battle. He asked me to compose a piece based on a very detailed description of this character, his personality, his appearance, and the setting he inhabits.
Character concept: a bounty hunter boss
This is not a friendly encounter. The character is meant to be evil and extremely powerful — the players won’t stand an easy chance against him. He hunts the players down, and when the fight begins, he’s meant to overwhelm them completely.
Appearance:
Hat: a classic American cowboy hat, in the vein of old western imagery.
Face: completely hidden behind a flaming skull mask — a mixture of fire and coal, like superheated volcanic rock (magma). Almost his entire face is made of this glowing, molten texture.
Body: a long coat, similar in silhouette to Hornet’s outfit from Hollow Knight — no arms or hands are ever shown.
Feet: brown leather boots with rocker/biker-style accessories.
Combat style: he never fights with his hands. Instead, he conjures volcanic magic around himself — an imposing “aura farming” presence, where the power radiating off him speaks louder than any physical attack.
Setting:
A “volcanic old west” — an abstract, non-literal environment that blends western desert imagery with volcanic elements.
Musical direction:
Base genre: western, leaning into rock, since this is meant to score a battle.
Signature instrument: harmonica, evoking classic western soundtracks.
Nordeste (Brazilian northeastern) percussion elements woven throughout, especially in the opening.
The track needed a clear narrative arc — starting restrained and gradually building in weight and intensity, since the character is first introduced to the players before the fight actually begins. Picture him talking to the players, still “farming aura,” radiating menace — and only once he loses his patience does the real fight start.
Because of this two-part structure (introduction vs. impact), the track was requested split into two separate files, so it could be transitioned live at the table when presenting the boss to the players.
Reference:
Igor’s main reference was “Quibungo,” from the Ordem Paranormal RPG soundtrack (Schiavoto). What he wanted to replicate was that song’s narrative structure — tense introduction → heavy drop → darker section → return of the intro → an even more intense final drop — along with its northeastern percussion opening, but reimagined for a western aesthetic instead of a purely northeastern one.
A while ago, I asked several friends of mine to put together a brief simulating a music commission for me. I asked them to imagine a virtual environment so I could compose a piece based on it. The requirements were: be extremely detailed about the environment described, and attach an image representing that environment.
Environment: cave
The ground is damp, yet soft and comfortable. The temperature is mild — neither warm nor cold enough to require shelter. The sounds come from solitary drops, muffled by moss, and water trickling down the walls. The lighting is gentle, a soothing darkness cut through by a single beam of midday sunlight.
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