An upbeat collection of instant dance classics mixed with hints of dub, breakbeats, downbeat, drum and bass, and a few beautifully crafted experimental electronic pieces. The downloadable version of the album contains high quality scans of 14 original color drawings - one for each track.

• Released: 2009

• Catalog Number: Opus 56

This is a companion to 'Funk Shway'. It contains some interesting remixes of tracks on the album as well as some tracks recorded during the sessions for Funk Shway. The conversation at the end of the EP is an excerpt of a tape recorded by my father on the day they brought me home from the hospital (after being born) in 1971. They are discussing my family tree...

• Released: July 2007

• Catalog Number: Opus 55

Since I was born in the 1970's and have always been fond of the funk tunes that came from that era, I set out to record a seventies-style funk instrumental album in my basement recording studio (which I affectionately call the Flower Pot). This album has a very organic feel to it, using complex arrangements of live instruments, analog and digital synthesizers, and a variety of recording procedures. The results are an album that definitely captures the energy of 1971 but the subtle nuances of a modern recording. Each track is segued with random conversations with friends that I recorded at my coffee table (with their knowledge, of course!).

• Released: June 2007

• Catalog Number: Opus 54

Coming Soon...

• Released: 2006

• Catalog Number: Opus 53

Coming Soon...

• Released: 2006

• Catalog Number: Opus 52

This album has a very zen-like spiritual quality to it, at least for me. My studio is in my basement, with soft-colored mood lighting to accent the instruments. Since I often record my music in the early morning, between midnight and 4 AM - my most creative time of the day, I get a unique feeling hanging out down there. It's dark, but pleasant and pretty. When I stop playing, the air outside is absolutely silent. Playing music when no one else is awake is like visiting another galaxy where only you, the musician, exists. I sometimes feel like I'm sitting at the control panel of a large spaceship, my synthesizers being the steering wheel. I guess I might liken it to dreaming while awake...

• Released: 2006

• Catalog Number: Opus 51

If I were to release a greatest hits of my last 10 years, this might be it. This compilation includes some of my favorite recordings from 1995-2005, including vocal songs and instrumental tracks.

• Released: 2005

• Catalog Number: Opus 50

This compilation is a companion to 'Loop Scoop'. It includes remixes along with a couple of outtakes (or b-sides) from the Loop Scoop sessions.

• Released: 2005

• Catalog Number: Opus 49

This is a highly experimental project for me, incorporating unusual recording techniques and unconventional methods of 'song writing.' It started as a desire to create a drum and bass album... and ended up being a journey through electronic sound.

• Released: 2005

• Catalog Number: Opus 48

Approaching Christmas 2004, I wanted to record a special album for friends and family - something I thought anyone could enjoy as a holiday gift. The solution? A relaxing recording of piano music with subtle synthesizer melodies peeking in and out of the picture - the perfect fancy dinner background music! Or a good album to clean house to. Or maybe a nice mood enhancer to put the finishing touch on a romantic evening... (don't forget the sensual massage oils).

• Released: 2004

• Catalog Number: Opus 47

Having a love for classical music is almost natural for a pianist - since a lot of classical music was written on and for the piano. When I was in high school, a friend of mine showed me an album of classical music made with synthesizers. Being a big fan of electronic music, I was instantly hooked - I always wanted to do my own 'version' of such a record! The catch was that I felt many classical songs would benefit from adding beats to them, something that affectionados would abhore! This EP is a collection of classical 'remixes'. The first half of the tracks are beat-oriented reworkings of classical compositions, while the second half are mellow synthesizer-only mixes that I thought you might find interesting.

• Released: 2004

• Catalog Number: Opus 46

With a love of both synthesizers and classical music, this album represents two great tastes that go together. It features a diverse array of popular classical tunes reworked with analog and digital synthesizers. Includes all 15 of Bach's two-part inventions!

• Released: November 2004

• Catalog Number: Opus 45

This is a compilation of some alternate versions and unused tracks from the Deflowered sessions. The first 3 tracks are the original long versions of these tracks I created for Deflowered, of which I later edited shorter.

• Released: 2003

• Catalog Number: Opus 44

This is a compilation of the best remixes of the Deflowered sessions tracks. I went back to the master tapes following mixdown, and recreated each song using samples, drum loops and leaving the vocal parts pretty much the way they originally were. Some of the songs sound extremely different while others retain the original style of the Deflowered version.

• Released: December 2003

• Catalog Number: Opus 43

This album began as a personal recording challenge. Up until around 1999, I had mainly used synthesizers, drum machines and samplers to create music - acoustic instruments were used like spices - sparringly. I decided to try and make some recordings using only natural instruments as sound sources, prohibiting myself from using any electronic sound source from being part of it. Sort of like unplugged... Before long, I was itching to put some synthesizers back into some of the songs. Torn, I decided to start working in whatever medium best fit the tune, regardless if it was synthetic or natural sounds. The rest of the album turned into an eclectic mix of acoustic tracks and electric tracks combined - an accidental masterpiece maybe? Regardless, this album turned out to be a lot of fun, both in creating it and the listening experience it has become.

• Released: September 2003

• Catalog Number: Opus 42

For Christmas 2002, I wanted to make a special CD for people on my list. I decided to put together a quick and short EP (4 or 5 songs) played and recorded very simply - on an acoustic guitar. Once I started playing, it quickly turned into a full album's worth of material... After listening back to the basic tracks, I started adding little lead synthesizer parts and 'presto' - the whole thing started coming alive for me. The sound of the analogue synthesizers mixed beautifully with the natural acoustic guitar - in an almost psychedelic way.

• Released: January 2003

• Catalog Number: Opus 41

This is a companion to 'Herban Hi Phidelity' - a compilation of remixes, edits and b-sides. I'd call it an EP, but the total playing time pushes over an hour - so I thought I'd cheat and call it a compilation.

• Released: 2002

• Catalog Number: Opus 40

This album is a percussion-driven electronic jazz album, and on that note, it also is probably my favorite record I've recorded so far. If I had recorded this just a year or two later, it would've had a completely different tone - due to the fact that software based recording had taken me by storm. But because it was recorded before I discovered software based recording in full, this record was done using REAL analog synthesizers, a real analog mixing board with knobs and faders and a good portion of it was laid down first on a reel-to-reel tape deck before being mixed down to a digital format. At the beginning of 2001 in Seattle, we had a major earthquake that shook the area. Of course, I had my tape recorder running the whole time - capturing news broadcasts as information was becoming available. Those samples are appropriately woven in and out of the album.

• Released: 2002

• Catalog Number: Opus 39

This is a companion album to 'Spectrum Analysis'. It contains all of the tracks from the album in instrumental form. I released this because I thought that these songs, with their complex arrangements and heavy instrumentation worked quite well as instrumental pieces. Surprisingly, the album sounds much different without the vocal tracks on top.

• Released: 2001

• Catalog Number: Opus 38

As I neared my 27th birthday, I did what many people do: analyze where I'm at and think about where I'm going. I began writing these songs about questioning the universe, exploration of my own mind and soul, and needing some sort of spiritual fulfillment. These tracks represent my saturn-returns - a time of great change in a person's life. Musically, this is a culmination of everything I'd learned to date. It has beautifully layered trip-hop beats, warm and resonate bass lines, and progressive chord structures. To top it off, I mixed in some of my favorite classical melodies. The results could be described as dark, buttery and rich.

• Released: 2001

• Catalog Number: Opus 37

These tracks were made with a lot of love and inspiration from the trip-hop movement of the late 1990's. I was delving deeply into lo-fi sampling and, more specifically, drum looping. A lot of the tracks have a very specific sound in the drums which was a result of the 12-bit sampling limit of my Korg sampler and the effects chain I ran it through. The result was unique and I have never since been able to duplicate the tone using other equipment. I also used the same effect on some tracks from the album 'Herban High Phidelity'.

• Released: 1999

• Catalog Number: Opus 36

Over the years, I've had the opportunity to play and record music with a diverse crowd of musicians. Some of these sessions lead into long-term musical relationships, such as my recordings with Patrick MacKinnon (Spiral Anne) or John Talamantes (Synthetic Chocolate). These tracks are one-off recordings I made with friends that never got used on a finished album. I felt that a lot of fun and effort went into these songs for them just to wasted - and I wanted to showcase them somewhere. So here is a compilation of some tracks I really enjoyed making with other people's involvement.

• Released: 1999

• Catalog Number: Opus 35

Like a film-score to a film not-yet made, 'Fragrance' feels like the soundtrack to something spectacular. These tracks were written to have a very story-like sequence. These is a little bit of everything in here - from beautiful soundscapes mixed in with driving dance beats to funky retro loops to giant washes of sound. I feel like this album is a must have to your electronic music collection...

• Released: 1997

• Catalog Number: Opus 34

This is a collection of remixes and extra tracks recorded while remixing 'And God Created Sound'. In essence, this compilation represents the odd assortment of remixes that didn't fit into the flow of 'Logic In Minutes' I had recently figured out how to sync my reel-to-reel tape machine to my midi sequencer. Doing so allowed me to keep the vocal tracks intact while changing all of the background music surrounding it. This resulted in a massive amount of experimentation, especially with the song 'Pink Sunset'. I kind of went overboard on the number of versions, but none-the-less, I find them all likeable and unique. I also included an interview I did with an Art Institute student and friend of mine, Jessi Roulier. We were doing this for a school project of hers, so I pretended to be really famous. Anyway, don't take it too seriously - I included because it was kind of fun to hear us back then. Gosh we were such kids... wait a sec - we still are!

• Released: 1996

• Catalog Number: Opus 33

This is the 'electric' version of my jazz-influenced album 'And God Created Sound'. For the most part, it contains alternate pop and dance remixes of the original songs.

• Released: 1996

• Catalog Number: Opus 32

I had been playing in a Jazz Ensemble and was really inspired to try and make something a bit jazzier than my previous efforts. I was listenening to a lot of Tears For Fears at the time and was influenced by the brilliant sound production they were getting. With rich piano solos, funk guitars, crispy drums and more, this album has a nice feel and ranges musically from smooth jazz to latin to blues to country jamming. Having just moved to the Northwest, the mystical vibe of Seattle in the winter time and the sense of excitement as I entered a new page in life breathed a lot of life into these tracks, in my opinion, and the overall mix and message feels timeless to me.

• Released: April 1995

• Catalog Number: Opus 31

When I first moved to California, I had dreams of working in the music business. Meanwhile, while I was busy working in a record store and trying to think of a way to get a record label's attention, I was recording my own records at home with a very modest recording setup. I had been messing around with instrumental electronic music for several years and once I arrived in the sunshine state, I began singing on my recordings. Nothing inspires a lyricist and song like being alone in a new place. My early attempts were captured on an inexpensive cassette deck. I eventually moved up to a higher production quality using an eight track reel-to-reel with digital effects. Anyway, I hope you enjoy this 'best of' compilation. It is the second in an on-going series.

• Released: 1989-1994

• Catalog Number: Opus 30

This is essentially a compilation of instrumental tracks I recorded during 1992-1994. Some of these tracks are instrumental versions of album tracks. Some of them are instrumental versions of vocal tracks that were on Synthetic Chocolate albums. Others are tracks that were intended for that purpose, but never used. I eventually had enough of these recordings to make this compilation possible, so I picked the best ones and viola! Now you can have 'em too.

• Released: 1994

• Catalog Number: Opus 29

I had always wanted to make a recording on a real acoustic grand piano but up until 1994, hadn't really had much opportunity. In the summertime, it worked out so that I could have a short time alone at my buddy's grandparent's house while they were away on vacation. They had a nice Yamaha grand piano that didn't get much use, but was regularly tuned. I jumped at the opportunity.

• Released: 1994

• Catalog Number: Opus 28

From deep techno beats and heavy analog bass lines to funky drum machine breaks and synth hits, this album is exactly what I was trying to do in 1994. I was spending time with a party crowd, going out to dance clubs and raves, and everywhere we went we were listening to techno. Listening to this record now, I feel it has a unique spin on the electronic-techno scene. The tracks are much more progressive and melodic than a lot of the 12 inch singles that were popular for that time. It was probably due to my jazz influence and love of pop music - the melodies just got worked in somehow.

• Released: 1994

• Catalog Number: Opus 27

This is a companion album to 'Slowly Melting', containing the single edits along with a few alternate versions of tracks found on that record. One track someone might think is interesting is 'The Cancer - Diversity (long mix)'. Here it is presented in it's original form, together. Not exactly a remix, but it fell into place on this EP.

• Released: 1993

• Catalog Number: Opus 26

This is a companion album to 'Slowly Melting', containing remixes and alternate versions of tracks found on that record. Highlights include an interesting remix of 'Market St', which contains an amazing recording of my friend JT after he just smoked mary jane for the first time. Him and I went out one evening to Denny's restaurant, where my girlfiend Elizabeth worked. Right before we got there, we smoked out. Before our food even came, JT got a bit paranoid and had to go out to my car to be alone for a bit. While he was waiting for me to come out, he babbled a bunch of nonsense into a microcassette recorder, of which I saved and used for this monumental dance track.

• Released: 1993

• Catalog Number: Opus 25

One afternoon, I was in the mood to play something new but didn't want to get too involved with a complex recording. So I created a short chord sequence and drum line, wrote some quick lyrics based on how I was feeling, and tracked it beginning to end in less that half and hour. A couple days later, I listened back to the mix and discovered that I really liked it, as is. That became the title track of this record and the rest of it grew out of that. This album has a cohesiveness that some of my other efforts don't exhibit.

• Released: 1993

• Catalog Number: Opus 24

All of these tracks have a sort of bond because they were born of the same jazzy spirit. Originally, some of these tracks were created for a live show. The rest of the tracks were various jazzy tracks that I was doodling with at the time, and this whole compilation just sort of came together on it's own!

• Released: 1993

• Catalog Number: Opus 23

Being an electronic music enthusiast since high school, I had recently explored a few new age records and got a little inspired. Most of these tracks began as experiments on my sequencer and evolved into soundscapes... I would best describe this album as mood inspiring background music, especially considering that I recorded most of this without any strong melodies purposefully (outside of solo sections). It was meant to be mood enhancing.

• Released: 1993

• Catalog Number: Opus 22

These tracks were orphaned, maybe for the better or maybe not. So I created this compilation to serve as a home for them. Having just recently aquired a sequencer (a recorder for synthesizers) and a mutli-timbral synthesizer, I spent many late nights looping sequences and drum beats. Sometimes I would get so wrapped up in what I was doing that I'd still be making music when the sun came up the next morning. These tracks are the ones that actually made tape at some point in time.

• Released: 1992

• Catalog Number: Opus 21

This is a compilation of alternate versions of tracks found on 'The Past'. It includes the original 9-minute recording of 'It's Only Money', which I later rerecorded for 'The Past' and the compilation CD 'Cultivation 91' (no longer in print). Also included are a few instrumental experiments that were left over from the sessions for 'The Past'.

• Released: 1991

• Catalog Number: Opus 20

In the fall of 1991, I moved north to a small town near San Francisco called Modesto. Being new in town, I didn't really know anybody and felt the same as anyone who moves to a new area - alone and nostalgic. This album was created to be a concept record revolving around my real-life feelings; I had an exciting new life but was having trouble because I was deeply missing my past.

• Released: 1991

• Catalog Number: Opus 19

This is a compilation of alternate versions and outtakes from 'Kandied Apples N Lemonade.' Being a record collector and a big fan of dance remixes, I started recording multiple versions of each song I was working on. It was a lot of fun to experiment with and each new version opened my mind to new possibilities within the dance genre. I embraced this concept and even to this day, continue to record multiple versions of most songs while I am in the process of making them - I feel it's good for perspective.

• Released: 1990

• Catalog Number: Opus 18

This is my second full-length vocal record. I was feeling like I'd made a significant jump in my ability to make quality recordings, although I was still using cassettes to record. This album has a good variety of songs with audible influences from Depeche Mode, Prince, and the electro-pop scene from the late 1980's. Some of the jazzier ideas I got while playing in the Bakersfield Junior College Jazz Band.

• Released: 1990

• Catalog Number: Opus 17

This was an experiment, more than anything, with recording my real acoustic piano using a cheap radio shack mic and a cheap cassette recorder. All of it was recorded live so be aware that the equalization and effects were printed to tape and could not be changed, unfortunately. Just a note: I had not yet discovered piano tuners at this point in my progression as a recording engineer...

• Released: 1990

• Catalog Number: Opus 16

This is basically a companion to 'Homesick Heart'. It is a compilation of alternate versions and remixes of the album tracks and includes a mock interview done by my sister at the beginning of 1990, after I completed the album. Boy, was I a little too serious back then...

• Released: 1989

• Catalog Number: Opus 15

In the summer of 1989, I moved from the beautiful hills of Fort Collins, Colorado to the desert of Bakersfield, California. I left behind my high school friends (including a girlfriend named Laura) and was rather meloncholic about all of it. I hadn't really experimented with vocal-driven pop music before I moved, but living in a new place without a lot of friends seemed to bring out the 'singer' in me. In many ways, this is a breakthrough record for me. I was trying out my singing voice for the first time and, for all practical purposes, trying to create a pop-music record. This record has it's limitations imposed by the equipment I was using and a recording environment that was less than adequate for vocals, but despite all of that, I still had such a strong desire to create my own pop songs that I did what I could with what I had.

• Released: 1989

• Catalog Number: Opus 14

If there were such a thing as a greatest hits for my early recordings created while I was in high school, this would be it. For the compilation, I remixed some of the original tracks with a little bit of reverb (they were a bit dry), and a few of them got sliced and diced from their original form. So even if you have the earlier records, this release might prove to be interesting due to the shorter versions and improved sound quality on some of the tracks.

• Released: 1986-1989

• Catalog Number: Opus 13

Of the tapes that I affectionately call the 'early years', this is the last of them. I believe that it is my favorite, as well. It has all of the elements of a good dance music record with a lot of melody and more musicality than my previous works. I put a little bit of everything I had in me, at the time, into making this tape - including some pretty crazy digital delay experimentation on some of the new age tracks.

• Released: 1989

• Catalog Number: Opus 12

Since all of these recordings were made while I was still in high school and living with my religious and conservative parents, I had to hide some of them away (the so-called dirty songs) on an alternate cassette that I eventually called 'Dirty Dishes'. Nothing too crazy here, except the juvenille humor of a seventeen year old boy whose hormones had gotten the best of him.

• Released: 1989

• Catalog Number: Opus 11

I was nearing the end of my high school days (I was a senior), and I was pushing the abilities of my tiny bedroom recording studio to it's maximum. I'd picked up a digital delay from the local pawn shop and was learning tricks with it. The radio stations were pushing 'dance' music and house mixes, which in turn influenced a lot of what I was working on. This album is part dance record and part pop.

• Released: 1989

• Catalog Number: Opus 10

This was my 'official' homemade Christmas album I created while I was a junior in high school. I wanted it to sound electronic and technical, so I tried to pick sounds that were 'synthy', so to speak. While creating this, I got kind of bored of Christmas tunes and mixed in a few classical pieces I'd learned, but with the addition of my drum machine. Ah, the wonderful and very appropriate sound of THAT drum machine! Especially on a Christmas album...

• Released: November 1988

• Catalog Number: Opus 9

What can I say about this album other than I was seventeen years old, listened to dance music circa 1988, and was an average sex-obsessed horny teenage boy. The album title and concept completely revolve around themes of an 'adult nature' - the sampled breathing, the track titles and the pounding dance beats.

• Released: 1988

• Catalog Number: Opus 8

Growing up in church, I was fascinated with certain mysterious bible verses, such as this one: 'I tell you the truth, it is hard for a rich man to enter the kingdom of heaven. Again I tell you, it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God.' (Matthew 19:24). So I built the bulk of this recording as a concept album revolving around that verse. I was experimenting with vocal sampling and using my voice as a kind of 'guide' or narrator. Highlights include a comedy track mimicking my mother yelling at the neighbor's dog (true story!).

• Released: 1988

• Catalog Number: Opus 7

This is kind of a 'catching up' compilation featuring alternate versions of some of my early tracks, and includes 2 early compositions not found on other releases (I didn't know what else to do with them). Included is a piano composition I created for a college contest (I got honorable mention). Unfortunately, a poor quality cassette recording is the only recording I have of this piece (I no longer have the score, which I painstakingly created by hand).

• Released: 1987

• Catalog Number: Opus 6

The title track of this record was composed while I was on a road trip with my family to California for Christmas. I was humming out the idea and the melody just got stuck in my head. At first, it was pleasing to think about and I kept singing it to myself so I wouldn't forget it until I got home. I sang it over and over in my brain. But pretty soon, it became a nightmare that I couldn't shake, looping endlessly in my brain, even when other music was playing! I would hear it going to sleep and it would be waiting for me when I woke up the next morning. Upon returning home, I finally purged myself of it by recording it - many versions in fact. It became the theme of my new album and three versions are presented here, each with it's own twist.

• Released: 1987

• Catalog Number: Opus 5

At this point in my musical journey, I began wanting to become an accomplished composer and producer. I started pushing the limits of the recording techniques I was using, adding more complex instrumentation than before and experimenting with alternative ways of recording. So why is the theme all about Mathmatics? I don't really remember specifically, but for a short time in high school, I THOUGHT I was pretty interested in math because I tested into Calculous early. I soon found out, however, that despite my desire to be good at Math, I didn't have the attention span for it and ultimately ended up the class dunce!

• Released: 1987

• Catalog Number: Opus 4

I was really into Miami Vice and this was my Sophomore year at Rocky Mountain High School - which was about the furthest thing from Florida you could imagine. For this album , I planned the tracks much more carefully than before with attention to recording quality as well as performance. The funny thing is that while I was creating a lot of these songs, I actually imagined I was recording this album for an action movie like Vice! If only I'd had a pair of those silky pants with a matching jacket...

• Released: 1987

• Catalog Number: Opus 3

After owning a synthesizer for several months, I realized that everything would be much cooler if I had a drum machine to compliment my music. Overly excited about my new drum machine action, I began skipping school like mad - only to stay home and build 'beats' while my parents were at work. These machines we incredibly fascinating to a fifteen year old kid who'd never been exposed to such cool electronics.

• Released: 1987

• Catalog Number: Opus 2

Growing up in the snow laden foothills of Colorado, I spent a lot of my childhood indoors playing with electronics and stereo equipment. I finally got my hands on a real synthesizer when I was fifteen years old. Fascinated with it, I raced home everyday after school to mess around with making music on it. This is the oldest surviving recording I made as a kid - and the first recording I ever made with a synthesizer (my earlier efforts were all made with a microphone and odds and ends around the house).

• Released: November 1986

• Catalog Number: Opus 1