In his chamber music, he is interested in questioning commonly assumed dualities of electronic sound, such as live vs. recorded, acoustic vs. amplified, and synthetic vs. natural. His pieces often involve polarizing or blurring the lines of these dualities by juxtaposing acoustic instruments with imitations of themselves. In his tape, Scribble (Mondoj, 2020), and other electronic music, he playfully engages with algorithmic composition, pop production techniques, uncanny MIDI instruments, and field recordings. He has released a number of free Max for Live devices that generate MIDI patterns and gestures.
[audio engineering samples]
[email me ︎ jsmishalanie at gmail dot com]