hang loose 🤙🏽
🤟🏽 pura vida 🌊 🌅 🌈 🌌

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I will provide a review/like upon receiving one out of respect and a culture of sharing art.

I also I go by Drū, my Norwegian name.
A composer for film and media, I weave intricate sonic tapestries that elevate the visual narrative. 
My training at Juilliard and mentorship with the esteemed Henryk Górecki have instilled in me a profound understanding of musical expression. 

I am equally adept at crafting memorable leitmotifs as I am exploring the evocative textures of aleatoric soundscapes.
My passion for music is matched only by my commitment to collaboration. I believe that a truly effective soundtrack is born from a symbiotic relationship between composer and filmmaker.  

With degrees in both composition and psycholinguistics, I possess a unique insight into the interplay between sound and meaning. This allows me to traverse a wide range of styles, from the elegance of Chopin to the grandeur of John Williams, ensuring that your project resonates with audiences on a visceral level.

While my musical journey has been my central focus, I have also explored diverse paths – from modeling to psychological research to community outreach. These experiences have broadened my perspective and instilled in me a deep appreciation for the human experience. I am a pragmatic and grounded individual, acutely aware of the demands of deadlines and budgets.

Let us embark on a creative odyssey together. I am confident that I can translate your vision into a captivating sonic reality, one that will not only complement your visuals but transcend them. 































#soundtrack
#film
#composer
#media


My art practice involves sounds, images and things in-between.  Temporality is an ongoing theme.  Sounds, images and other media evoke different space-times; treating time materially, reflecting on phenomenological, psychic, technological, social and political realities.  My work often involves grids (regular and irregular), pulsed and free time, noise, drones, melodic material that ranges between static, meandering and narrative and directional, the use of voice (including so called “extended techniques”), sounds of indefinite origin with ambiguous properties, the interplay between meticulous and process-based working methods and more intuitive approaches to composing or arranging materials, and the use of relatively “free” improvisation.

Exploring the gritty, deep, and beautiful spaces of 170.

[Sanctuary Collective]

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