Limerence — Natalie Nootenboom

I produced Limerence by Natalie Nootenboom, a dirty rock electro-pop track that is fierce, driving and incredibly playful. The lyrics reflect that energy perfectly and the whole track swings between pop accessibility and raw edge.

The concept started as a verbal idea over the phone, inspired by early 2000s dirty electro but reimagined as modern and heavy. I performed all guitars, bass and drums, and programmed all the synths, which was a challenge since the track’s vibe relies on the interaction of these elements.

Production focused on blending the guitars and synths to work in harmony. The track had to be heavy and energetic but still feel like a pop song you could hear on the radio. Vocal production took massive inspiration from Justin Timberlake’s SexyBack, using distorted and pitch-shifted layers to give the vocals a dirty, aggressive edge.

Collaboration was fully remote. We spent hours on Zoom and FaceTime despite time zones, from Vegas to Florence, Italy, using Audiomovers ListenTo to play the track in real time. Francis Gill joined on mixing and mastering, helping bring the final sound together.

The result is one of my standout projects, energetic, playful and a showcase of production skill.

Tragédia - THEO

This one was built from the ground up with THEO, no demo, The whole vibe we chased was that raw garage energy, like you’ve walked into a small pub and there’s this unknown band just exploding in front of you.

I played the backing guitars, bass, and added extra percussion like shakers and tambourines. Some guitars came from João, and the original drummer laid down the first takes, but I ended up reworking the drums with samples to push them harder. Production-wise, it was all about driving amps loud and pushing the tape machine to breaking point. The goal was to make it feel like the centre of an explosion.

Me and João worked fully remote, him in Portugal and me in Florence. We bounced ideas back and forth using translation software which made it a bit slower but never a problem. The concept stayed true right through to the end, raw and explosive, and the final track is one of my favourites on the album.

Unbreakable — Alexis Gerred (feat. Mig Ayesa)

I produced, mixed and mastered Unbreakable by Alexis Gerred featuring Mig Ayesa. The original demo was just Alexis on guitar and vocals, and from there it grew into a full rock track packed with energy.

I played bass, drums and backing guitar, programmed subtle synths, and layered everything together. Lead guitars and the solo were played by Francis Gill, and the brass parts were recorded by a session player. My main challenge was blending all these layers so the track felt like one big party, alive and driving. The music video mirrored that vibe, with a boxing-match energy.

Vocals were stacked into a huge chorus, brass hits brought punch, and the solo cut through perfectly. Mig’s feature added another level of power, sitting alongside Alexis’s performance. My job was to pull all of this together so it hit hard but still felt accessible.

The whole project was done remotely, but it kicked off an ongoing collaboration between me and Alexis that’s still going strong. The track has been well received, and Alexis often throws it back as a highlight of his early career, even as he’s built a successful videography business since.

Aliens — Astrud Aurelia

I produced Aliens by Astrud Aurelia, taking a raw, self-recorded demo and turning it into a modern, edgy, and polished track. The original demo was mostly dry and minimal, with Astrud playing most of the instruments herself, including guitar and double bass. My job was to make the track feel edgier, more dynamic, and modern while preserving her unique musicality.

I played the rhythm guitars, bass and drums, and programmed synths to complement the live instrumentation. Production focused on giving the track an experimental yet cohesive feel, blending traditional band elements with modern textures and electronic layers. The vibe of the track is immersive and a bit otherworldly, balancing intensity with subtle melodic hooks.

Vocal production was key. Layered harmonies, careful placement and subtle processing enhanced Astrud’s performance, allowing her voice to float above the instrumentation while maintaining the track’s dark, eerie atmosphere.

All collaboration was remote, requiring careful coordination across time zones and iterative sessions to ensure the final track captured Astrud’s vision. The final mix delivers an edgier, more modern sound than the demo, and highlights the experimental, slightly haunting character of the track.

Save Me — Amongst Thieves

I worked on Save Me by Amongst Thieves as the producer, mixing and mastering engineer. This track is a heavy metal piece with a modern electronic edge, reminiscent of a first-person shooter game soundtrack, featuring aggressive synths and an intense vibe.

A major challenge was re-amping the dry guitars to find the perfect amp sound that meshed well with the aggressive synths. My unique style of blending synths with guitars really shines through, creating a sound that stands out.

The band and I go way back, so even though we worked remotely (me in Florence, them in the UK), the collaboration was smooth. Josh, the singer, trusted my ears, and we had minimal feedback, which gave me a lot of creative freedom.

The track has been a highlight, with a music video that’s amassed a great number of views on YouTube, boosting the band’s visibility.

Cvrsed Imvges — The Dahli

I produced Cvrsed Imvges by The Dahli, an alternative pop track built around The Dahli’s haunting vocals and a mix of pop and rock.

The demo was a simple GarageBand project with a few basic chords. I started by taking the initial loops and experimenting with variations, combining guitars and some haunting synths until we had a solid starting point. I played all the guitars, bass and drums, and programmed all the synths.

One of the things I’m most proud of is how the live drums and electronic trap kit blend together, it feels like one organic heartbeat driving the track. It was tricky to get right, but it really gives the song its pulse.

Vocal production was a huge focus. Layered harmonies, textures, creative vocoder work, everything is there to let The Dahli’s voice shine.

The song has a sexy, melancholic vibe. It’s got a bit of grit, a subtle haze, but it doesn’t attack your ears. The final track is completely different from the demo in the best way. The Spotify streams and music video feedback have been awesome.

We worked remotely, Florence to Arizona, juggling time zones, but it pushed the track in a great direction.