Who are you?

I'm what can only be described as a cultural Picasso painting - I was born in France to a Swedish mother and Irish father, so of course I grew up in Spain. If you're not already confused, I'm a freelance composer and sound designer and am part of the ever growing Guildford video game scene in, you guessed it, the UK.

Whats the deal with all the polar bears?

To put it simply, I like polar bears. Not that I'm an avid activist against the effects of climate change, though it is a serious issue and we should care about it a lot more than we do, but any creature that chooses to live in a frozen land, has gratuitous amounts of hair on its chest, and can eat your face in one swift motion is worthy of my respect!

Why make music instead of protesting against global warming?

Unlike activism, I was exposed to music from a young age. My dad's car used to be full of Bob Marley, Queen and The Beetles cassettes, and after getting my first Walkman, I endeavoured to go through every other music phase a person could possibly go through; punk, old school hip hop, Michael Jackson, metal, every type of rock (and aggregate of minerals), Eastern European folk, Carnatic Indian classical, actual classical music, minimalism, glitch, electronica... I could literally just name every genre and sub-genre there is and I probably had that phase.

So by having an ever-evolving and broad sense of musical taste, of course I chose to start learning the piano at 9 years of age (bet you didn't see that coming!) But that was short lived since what I didn't see coming was that my teenage self later saw something in the guitar that the piano couldn't offer: a 1-way ticket to my own personal harem of chicks. I was sorely mistaken. However, many rock bands and progressive metal symphonies later I ended up back at my roots at the end of a contemporary music degree when I decided that being a guitarist on tour all the time was a lot less appealing than honing my inner Japanese self and composing cheerful, yet melancholic music for video games and films. You need only listen to any melody I've written to understand what I mean.

So, video games... GO!

It all started with my first Gameboy and a copy of Super Mario Land. From there, yearly trips to my cousins' house in Sweden included playing far too much Donkey Kong Country, Super Smash Bros and Mario Kart 64. Ive also grown up with every Sony console except for the Vita (for discernible reasons), had nearly every Nintendo handheld console, and... a SEGA Saturn (I know, I'm sorry too.)

Like most people my age I grew up with Pokemon, and because you asked so kindly, my first Final Fantasy was X followed by the rest of them in no logical order whatsoever. Unsurprisingly, I also grew up with The Legend of Zelda and that whole franchise because who didn't? If you were wondering where all the Japanese influence came from, that curiosity has undoubtedly just ceased. Basically, I've played a lot of video games, and as a result I now make them.

How much input do you have when working on audio for video games?

As much as people want my fingers in their pies. I am well versed in Wwise and FMOD, and knowing C# and Unity helps monumentally, particularly when budgets and sound limit caps are an issue. Having experience in many fields of game development, particularly programming, art and animation also helps to communicate ideas with clients without getting completely lost in translation.

What gear do you use to make noises?


Seriously though, being creative is less the quality & quantity of tools you use, and more the way you use the tools you have at your disposal. I enjoy the freedom of looking to my surroundings for anything I can use and record because it is far more liberating than spending hours patching a synth or guitar tone. That being said, sometimes thats exactly what you need to do to get the result you want.