Here you can find links to my album and single releases plus collaborations.
Dreaming Sound – 2026
A dreaming, shifting feeling runs through these pieces I composed between 2022 and 2026. I added a few short dark interludes inspired by bodies of water in Oregon I’ve experienced at night – walking on Gearhart sands at midnight, seeing stars flow into Horsetail Falls at 2:00 AM, or sitting alone at Soapstone Lake after dark. There’s just something about solitary pools and streams in luminous night…
I wrote some of these songs over many weeks or even months, while I wrote seven of them in five days. If you’re familiar with Matteo Carcassi’s Op. 60: 25 Melodic and Progressive Etudes, you might hear some rhythmic similarities in Honeycomb and Marbled (inspired by Etudes 2 and 4). Though the harmonic and melodic content is quite different.
If you’re a music nerd and transcribe some of these chord progressions, you’ll find a lot of cadences that use a b7 minor 7 chord going to the tonic major chord (like Bbmin7 going to Cmaj7). I’ve been experimenting with this sound, since the Bbmin7 has most of the chord tones of a G altered dominant and has its own sort of tension that resolves to the tonic.
I used this in the song “Upward” in particular. The chord progression is:
| Am7 | Bmaj7 | Abmin7 | Bbmaj7 | Gmin7 | Amaj7 |
so, it’s that basic cadence of b7min7 to 1Maj7 moving down in half steps.
Lastly, I intend the atmosphere and sound here to be engaging if you listen close but also relaxing if you put it on in the background while working or even taking a nap (I always fall asleep to ambient music myself). Hope you enjoy!
Weaving Sound EP – 2025 (only on Bandcamp)
My latest installment of improvised prepared guitar draws equally from flamenco and metal. I recorded all tracks in order in one take with no effects or overdubs (except for a touch of reverb). I prepared my guitar by hanging a gold chain from the bridge, which vibrated against the top almost like snare drum wires.
The spider theme came after, when I found Joy Woodburn’s piece of art fit the sound aesthetic.
“Unseen Orb” references a time when a huge orb weaver spider was hiding in our living room and suddenly sprinted across the floor.
“Creeping” grew from a common death metal rhythmic figure that sounds even more disjointed and unnerving in this solo guitar context.
The title “See Me In The Lighning” means a couple of things. First, a hidden spider you only see when lightning flashes. Or, it references that the main melodic idea uses hammer-ons and pull-offs on an open string, similarly to the intro to Thunderstruck, which I learned as a young guitarist years ago.
The EP is like a web coming into being, a strand at a time.
tunne EP – 2025 (only on Bandcamp)
a short offering
classical guitar
some (approximate) flamenco technique
years of death metal in my head
all wrapped in improvisation
each piece a whisp of a riff, appearing, then disappearing
also, that rattle is a dangling plastic key fob vibrating against the top of my guitar
Jagged Expanse – 2025 (only on Bandcamp)
I’ve been working on a classical guitar sound that combines the aggressive rhythms of metal with some flamenco technique in the context of free improvisation. This recording is my first realization of this pursuit. In particular, I enjoyed steering some improvisations toward tremolo rhythms reminiscent of black metal guitar and others toward more erratic rhythms of some progressive death metal.
I recorded all tracks in one take in album order. All are 100% improvised except for Flickering, which started with a simple written motif. When I improvise solo, I focus on finding two or three ideas that unfold and develop those. The possibilities start wide open, but narrow as time goes on.
To add some noise, I hung a small spring and a key ring from my guitar bridge, which vibrated against the top as I played. Leaning forward and back changed the weight of these materials on the top, and I experimented with that in some of the pieces. To me, this almost adds some “acoustic distortion” and brings out the aggressive sound more.
Lofi Ambient Jazz Guitar (Live in Bend, Oregon) – 2025
For this session, I wanted everything to feel unhurried and textural. I played my Ibanez AF95FM hollow-body guitar, strung with pure nickel roundwound 9s. I like playing light gauge at gigs and it makes legato easy. The pure nickel strings are a bit more warm and vintage sounding.
In my signal chain I used a JHS Hall Reverb, using the modulation switch to add a bit of a chorus effect. I set the decay time short, kept the tone damped, and dialed the mix slightly more wet than dry to keep things deep and lush.
I also used a Donner White Tape Delay (cheap but good), which added a soft analog echo. Subtle enough to blend into the space without clouding the notes. I also used a compressor to gently even out the transients and keep everything smooth.
From there, I ran into a Quilter 101 Reverb amp head, which gave the tone clarity and a warm response even at low volume.
Each track is a live improvisation based on an original melody and chord changes. I played slowly and let the sound evolve between notes breathe. That pacing helped the lofi jazz atmosphere emerge organically, giving space for reverb tails, delay trails, and tone textures to interact naturally.
Inner Landscape – 2025
This album is a collection of free improvisations, including one longer piece I split into multiple tracks.
Waterfall’s Edge (Improvised Jazz Guitar Prelude) – Single – 2024
Midnight Silence (Improvised Jazz Guitar Prelude) – Single – 2024
Blue Before Dusk – Single – 2024
Sleep Music 1 – 2023
I’ve long been inspired by ambient music and sleep to it almost every night. This release features a 53-minute track of slow guitar and light effects. The track slowly changes over time. It’s available on all major streaming platforms.
Read More: Sleep Music 1
Well In The Woods – En Memoria (2020)
Well In The Woods is made of Joy Woodburn (voice, production, keyboard) and Brogan Woodburn (guitar). We were living on Oregon’s coast in Seaside at the time. This album goes between heavy industrial rock and softer, longing sounds you can compare to intros or interludes of some Porcupine Tree songs.
Venerable Showers of Beauty – Cherish, Consider, Conserve, Create: Compositions for Gamelan by Lou Harrison (2017)
I was one of about a dozen musicians on this recording (with Joy Woodburn as well) led by the amazing Mindy Johnston. From Bandcamp: “The Venerable Showers of Beauty (VSB) Gamelan is a group of Lewis & Clark College students, alumni and community members, based in Portland, Oregon, specializing in the performing arts of Java. Founded in 1980, the VSB Gamelan has performed throughout the Northwest at hundreds of events. Mindy Johnston is the current director.”
Joy and I both rotated playing gamelan instruments like the gambang, gender (pronounced with a hard g), bonang, and gong. Playing in a gamelan was an amazing experience. If you haven’t heard of the music before, check it out. Gamelan Pacifica is another great group based in the Northwest (I got to play in that as a student at Cornish under Jarrad Powell way back in 2008-2009). Gamelan instruments use their own scales that are completely different from the equal-tempered notes we’re used to in Western music.