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Aliases &
Experimental Work
Currently, Connor is working as a freelance composer and music producer for mixed media in the United Kingdom. As this work requires a lot of experimentation and research, a lot of his time is spent analysing and viewing other forms of media. This leads to a lot of smaller projects that are aimed purely at experimenting with techniques and playing styles to inform later projects. These experiments are usually released under an alias.
Even at the beginning of his journey in music, pseudonyms and aliases were the preferred choice to using his name, this allowed him to experiment freely. Whereas now, his aliases are used for his more experimental music that fits a more modern aesthetic.
Over the years, many of the aliases have been abandoned in favour of refreshing the brand.
Thanks to the refresh, only the most developed of the aliases remained.
His only public alias at this time is "The Narva Project." Which has a sound unique enough to warrant it's own pseudonym. The project primarily focuses on heavy electronic pieces, ranging from funk/disco fusion genres to electronic jazz fusion.
Once introduced to experimental ambient music and free-form Jazz while in university, he took on a new approach to composition and music in general. The sound of interlocking melodies plays a huge role within Connor's music thanks to this, which leads to new and unique colour tones when applied to an orchestral context.
In his experimental work, Connor is an avid advocate of using guitar pedals, sound manipulation and experimental effects within his workflow and sound design. Using multiple techniques and philosophies, he is able to effectively craft sounds fit to any genre and style.
His attention to detail and heightened awareness of the contextual uses of his work allows for unparalleled connection to your story.
Near the colours of entertainment, you'll find a field of containment. Have a look inside, You'll find a nice surprise. It's your first key of obtainments
ᛗᚨᚾᛁ ᚱᛖᚨᛚᛗᛊ ᛁ ᛖᚾᛏᛖᚱᛖᛞ, ᚨᚾᛞ ᛗᚨᚾᛁ ᛏᚱᚨᚲᛖᛊ ᛁ ᛚᛖᚠᛏ. ᚠᛟᛚᛚᛟᚹ ᛗᛁ ᛃᛟᚢᚱᚾᛖᛁ ᛒᛁ ᚠᛁᚾᛞᛁᛜ ᛗᛁ ᚱᚢᚾᛖᛊ, ᚦᛖᚾ ᛁᛟᚢ ᛏᛟᛟ ᚹᛁᛚᛚ ᚲᛟᛗᛗᚢᚾᛖ ᚹᛁᚦ ᚦᛖ ᚨᚾᚲᛁᛖᚾᛏ ᛟᚾᛖᛊ. ᛏᚺᛖᛁ ᚹᚺᛟ ᚲᚨᛗᛖ ᛒᛖᚠᛟᚱᛖ ᚨᛚᛚ.
Connors process when doing experimental music is much like his compositional process, prepare what you would need and then find an idea. Once his project specific array is ready, he usually begins with drones which are then manipulated with time and doubling effects.
He uses his surroundings and environment to his advantage using it as inspiration for his pieces. The swaying of the wind, a lone tree on a hill, or even spooky noises at night. Anything and everything is subjected to field recording and recreation using sound libraries.
Using a combination of field recordings and sound design, he is able to craft sound so that it is unrecognisable from its original counterpart. For example: when crafting monster sounds, a number of different layers can be used: Aztec death whistles, Fox calls, Elephant Seals, and other miscellaneous wildlife to achieve numerous different results.
Sound is the medium that carries the emotional and temporal weight of what is happening on screen. This doesn't just include music, as one off audio events and background ambience are also critical in expressing the world around the player.
Audio provides a doorway to correctly emphasising the context, therefore having a current and deep understanding of the IP and world is essential in creating the right effect for your project. Collaboration is key.
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