Electron Transition

Most of my life, I’ve been a restlessly curious individual. This curiosity led me down many rabbit holes and into diverse range of creative disciplines.

From first attempts at drawing and story writing, to game development, design, music, photography, field recording, and most recently – film SFX and soundtrack work, my career so far can be best described not as one specialized field, but rather as constant expansion, build-up and integration of interdisciplinary competences.

Academically trained as a graphic designer, at the same time I’ve developed a parallel path in experimental electronic music and sound design.

Music and sound is more than just a hobby or a profession to me. It is a uniquely intimate and direct way of connection with the world itself.

After 15 years of exploring boundaries between music and noise under several creative guises – Spectral, BrainMonk, Ana-Logika and Entropija –  I no longer draw arbitrary distinctions – rather, I opt for a more fundamental approach towards my sonic work:

What is the core idea or emotion behind the work? What are the parameters of the project, what types of sounds would best match these parameters and convey the ideas? What are the fundamental characteristics of sounds I use – harmonic vs. dissonant, detailed and textured vs. clean and clearly defined, rigid vs. fluid?

Principles like these, instead of genre or industry conventions, guide my creative choices and allow me to achieve original results with unique sonic signature.

Recording and editing.

Years of experience recording and collecting sounds in volatile environments – urban and natural spaces, music venues, makeshift studios, film sets or abandoned ruins with lurking danger – has taught me quick, no-nonsense approach to capturing sound immediately with little prep-time.

Performing and recording music live taught me how to be an editor – efficiently sifting through hours of chaff to pick out all the wheat and bake it into something coherent.

If you need someone to record 6 km² of a city in 3 days and then compose a soundscape out of it – I’m your guy. Oh, and I can also boom pole.

Foley and sound design.

My love of recording and performing sound ties directly into my work in film and earlier – game design.

As a co-founder of small indie game company „Membranos“, for 10 years I’ve been responsible for the entirety of artistic vision in each of our projects, including sound design.

Now, as a member of an indie film crew „Frenija Collective“, I’m responsible for carrying the entire sonic vision and its execution on our first full-length feature.

At the time of writing, most of my days are spent either in a foley studio or in front of an editor screen, comprehensively crafting every tiny bit of sound, scene-by-scene, to match director’s vision by the end.

Soundscape and soundtrack composition.

Treading on the extremes of experimental music scene, I have learned to compose with sound, not just notes and beats and to integrate musical and non-musical into the sublime.

My own creative works include music with field recordings, field recordings morphed into music, pure environmental soundscapes, and purely harmonic musical compositions.

I also have experience doing soundtracks for games and more recently – films, most notably young Indian auteur’s Sibi Sekar’s 2022 feature „I Wonder If Daylights Were White Nights or Something Childish But Very Natural“.

Flexible teamwork.

Ever since my early game-development days at school, I’ve always been a team player.

Experience with diverse range of projects across disciplines – industrial and graphic design, educational work, corporate work, artistic and performative projects – has taught me how to integrate myself into a team workflow and adjust my role and skills towards the collective goal.

I work best in direct communication and support with a team or a partner, and my range of experiences allows me to comprehend the larger scope of any given project and position myself accordingly.