Good Luck Out There

This installation is a place to visit—an invitation to look around, explore, and travel through sound. Every visual work is produced in tandem while recording for and adding to my living collection of thousands of field recordings, gathered over a decade of life. These recordings act as portals to my personal sound experiences, bringing memories and sonic atmospheres from the past into the present.

Context shifts, yet these sounds are preserved in time as “sonic shadows,” reflections of my life. Field recording lies at the heart of my creative process, a practice that begins with listening and evolves into an encounter with space. Capturing sound requires stillness, patience, and presence in the sound field. It’s an act of deep listening that reveals the microscopic details of the auditory world, transforming everyday noise into something extraordinary. The process itself is an exploration- I point my microphones, attach them to resonant surfaces, drop them underwater, or tune them into electromagnetic frequencies. These recordings are then mapped across synthesizers, samplers, and drum machines, allowing me to reassemble reality into new worlds of sound. Sometimes the recordings are left completely untouched. These sounds are made to be woven into the songs on this album much like sonic tapestries. Memory and place intermingle, reshaped as they reemerge in the music. Question the origins of a sound and step into uncanny, unfamiliar environments.

It’s extraordinary to hear the world around us and discover sound in the most unexpected places. For instance, my contact microphones can detect something as delicate as the footsteps of ants under a rock or the vibrations of distant trains through railroad tracks. Hydrophones capture the rise and fall of river currents, bubbling thermal vents, or the ringing chorus of frogs in a bog. This practice has taught me the importance of the inaudible—those sounds beyond human perception yet vital to the ecosystem of life. It’s a way of listening that fosters curiosity, respect, and sensitivity to the environment. Many of these sounds are woven into the songs on this album, but so many others remain for you to uncover on your own.

The visual art in this project began as sketches in a journal I carried with me nearly every day. Tucked into backpacks or jacket pockets alongside my field recording gear, it traveled with me everywhere in between and throughout the collection of my many field recordings. Drawing in time, while recording time. As the record came together, I realized these drawings were more than just sketches—they were companions to the music, unfolding in parallel time. Each drawing accompanies a specific track and is subsequently transformed into animated video meant for full wall projection.

Sound surrounds us every day, deeply linked to memory and place. A phrase I often return to is: sound as memory. It’s a reminder of the luxuriousness of sound itself and the unrepeatable uniqueness of each moment. We are all a part of a biological stream of noise, united with the vast symphony of life. This collection of songs and artworks were composed and arranged between 2021 and 2025 while living in Troy, New York.