My first synthesizer was a borrowed Casio CZ-101 on loan from a friend in Fairbanks, Alaska where I lived as a 14 year old social outcast. It was my introduction to the world of audio synthesis and electronic sound programming. My first actual purchase was a year later in Napa California where I bought a Kawai K1 at discount from Voyage Studios where I volunteered as am electronic instrument engineer. My "employee discount" combined with a job at local fast food restaurant quickly followed with a used Roland Juno 106 which was my first analog synth. Over the years, and after a move back to Anchorage Alaska, my arsenal started to grow as I was able to afford a variety of used and outdated samplers, rhythm machines, and sequencers. Many were from pawn shops that had no idea that vintage synths were worth more than $50 a piece. For some time, I composed in obscurity, recording on boom boxes and other consumer-grade appliances.

Then one day arose a beast called Fsunjibleableje. It was a beast without form, and void which spring from the self-defeating artistic desolation that was a typical Alaskan lifestyle. The lack of a creative electronic music scene during the early-to-mid 90's spawned an unexpected foray into experimental noise.

During the mid 90's Fsun played and video taped over 50 performanced in various warehouse, outdoor, and art gallery locations throughout the state of Alaska. Performances involved deafening noise, low-budget pyrotechnics, mechanical props, film-based projections, electronic/mechanical appliance destruction, ritual scarification, all using controversial techniques. I was responsible for much of the electronic/synthesis elements of the Fsun sound while other participants contributed in harsher elements of noise and performance. At one point or another, or all points, we smashed things.

During those years, I was recording a lot of N-Kontu tracks. Near the end of Fsun's reign, I joined a punk band called Liquid Bandade which lasted for over 3 years during which it gained some small local popularity.

One day Liquid Bandade was suddenly no more. Everyone was moving away, including myself, so many other projects fell to the side as life took a new turn. For the next few years my musical life went into a dormant phase as I searched for some deeper meaning to existence. This unfortunate lapse of creation resulted in a habitual neglect of my musical ideas and for some time there were very few recordings.

During the 2003-2007 years I had a run as a bassist/keyboardist with a Seattle indie-rock 3-piece called Phobophobe, releasing 1 album (The Race) and playing countless shows around Seattle and Portland. Phobophobe more or less ended when the drummer/vocalist left his music career to work solely in video production. The guitarist decided he didn't want to continue using the same name without all 3 members, so any future musical projects will be under a different name. More recently, I'm focusing on my solo projects, and I still continue to churn out solo recordings on the side. It's hard to get into a creative zone with a 9 to 5, but I somehow manage the ocassional escape and, like many musicians, can be found daydreaming about that day in the future when I can spend more time making music and less time punching the clock.