Sound Design
Drawing from ASMR aesthetics and IDM-influenced music, imagining the sound of a watermelon up close and a ring from afar, Tomek and I managed to create something delicate yet moving.
Impatient with the silence of the tape recorder and a lone tennis ball, I decided to add sound to this sensual image myself. The tape creates a wave of emotions, accidentally introducing the sound of a departing Cessna. It doesn't impose itself with a complicated form. The wind noise is strong, the water isn't too warm. In this sound design, the music seems technically more distant, yet closer in frame.
Film Music Composition
When composing film music, I am primarily guided by the emotions of sensitive listeners. I love combining subtle electronics with orchestral music. I care that the music harmonizes with the director's vision, creating a harmonious work rather than dominating the image. While working on projects, I pay attention to every detail — I value dialogue with co-creators.
I often use minimalist means. Playing with reverb, simple sine waves, feedback, or birdsong is everyday practice in my productions. I'm not afraid to touch emotions like fear, sadness, or grief; I try to work with them based on my own experiences.
Music Production
In the field of commercial music production, I focus mainly on creating sound sketches that reach a wide audience while maintaining a distinctive artistic character. My process combines contemporary trends with timeless musical elements, ensuring that each piece not only appeals to current tastes but also has lasting value.
Collaboration is key; I actively engage in the creative process with artists, producers, and clients to combine their vision with my expertise. The end result is the production of innovative and memorable music that stands out both in commercial and technical contexts.
