About

Creating Clarity From Complexity

I'm a builder, musician, and technologist who likes turning complicated ideas into things people can understand, navigate, use, or experience. I'm based in Acworth, Georgia, just northwest of Atlanta.

My professional work focuses on communications, reporting, enablement, knowledge management, digital experiences, and operational systems. Outside of work, I apply that same curiosity to music, games, applications, websites, and other creative projects.

The Common Thread

The different things I make aren't really separate pursuits. They're different expressions of the same underlying curiosity: understanding how something works, figuring out how it could work better, and then building something that makes the result useful, understandable, or enjoyable.

At work, that might mean turning operational data into a reporting system, building a knowledge resource, creating a stakeholder dashboard, or finding a better way to communicate complex information. On my own time, it might mean writing a song, building a game, creating a web application, or constructing a personal tool to solve a problem I've encountered.

The Professional Side

I've spent more than 30 years working with the web, digital communications, multimedia, and content. My current work has evolved well beyond simply producing content: I build and operate systems that help teams communicate, report on their work, share knowledge, and make complex operational information easier to understand and act on.

At Delta Air Lines, I work as a Communications Lead specializing in executive reporting, stakeholder enablement, knowledge management, and AI-assisted workflow design. The details are on the Work page, but the short version is: I take messy, complicated operational realities and turn them into communications, tools, and systems that help people make better decisions faster.

Explore My Professional Work →

The Creative Side

Music has been a constant throughout my life. I took piano lessons from age five to age 15, and I was always great at playing by ear. I'd get my piano teachers to play new songs for me, and then I could play them back. That skill became the foundation for everything else.

Today I write and produce synth-driven pop, cinematic instrumentals, dark ambient soundscapes, and electronic music—all rooted in a deep love for the sounds and aesthetics of the 1980s. Over time, that creative work expanded naturally into game development, web applications, and experiments with interactive technology.

To truly understand the art, you have to travel back to the Atlanta International Airport in the 1980s. Step off a flight, descend to the underground transit mall, and you'd hear a distinct, beautifully eerie computerized voice instructing passengers to move toward the doors. For most, it was background noise. For me, it was a foundational text. Decades later, that exact transit voice was immortalized in my instrumental track "Concourse B", a song that now plays on a loop at the Delta Flight Museum in Atlanta, bridging the gap between historical artifact and retro-futuristic art.

The Arcade: Where 8-Bit Pixels Meet Classic Synths

I treat both keyboards and code as time machines. Recently, I expanded my creative outlet into game development, channeling a deep love for 1980s classic arcade gaming into fully playable online indie titles. Merging original coding, custom pixel art, and my own synthesized soundtracks, the games reflect the exact same thematic fixations found in my discography.

The Airline Industry Influence: If you love "Concourse B," you can dive straight into Runway Rush, an addictive, Frogger-inspired arcade game. Players guide passengers through a chaotic terminal concourse and across a live, active runway to reach their departure gates before the clock runs out.

The Lovecraft Arcade: My fascination with cosmic horror doesn't stop with the 2025 album Unearthed. I've translated that same H.P. Lovecraft-inspired dread into interactive software—brooding, yet twitchy retro-style games where players navigate eerie pixels and dodge cosmic terrors to the beat of dark electronic wave music.

The Corgi Carnival: On the lighter side of the spectrum, my beloved Welsh Corgis take center stage in projects like Jasper Junction, Archer's Alley, and the whimsical Peachy Polo. These titles, under the Corgi Carnival umbrella, fuse classic physics-based arcade mechanics with livestock-herding and twitch-based mini-games, proving that a great hook works just as well in a video game as it does in a pop song.

A Diverse Musical Catalog

Beyond the arcade cabinet, my musical catalog continues to grow. With over ten albums and dozens of singles, I cover remarkable ground. On the music pages, you can plunge into cosmic dread with tracks like "Exham Priory" and "Thine Enemy's Skull." Elsewhere, you'll find deeply humanistic, vulnerable electronic albums like All At Once and Meraki, alongside standalone singles exploring everything from the existential dread of "Artificial Intelligence" to the cinematic expanse of "Flower In A Firestorm" and "City Of Never."

But if you want to hear me at my most visceral, queue up Live Werks. The seven-song live album strips away the studio insulation. From the propulsive driving rhythm of "Machinery Of The World" to the nostalgic ache of "Cassette Generation," Live Werks is the definitive document of a musician who lives to perform.

On Stage

That raw energy makes perfect sense when you realize I'm not just a studio builder; I'm a seasoned road warrior of the live circuit. When I'm not shaping ambient soundscapes or programming sprite sheets in the studio, I'm performing original material with Andrew Doss & The Werks—an 80s-influenced original pop and covers act—and nailing the iconic, high-stakes keyboard textures of classic rock and new wave on stages across the region. I hold down the keys for Atlanta's premier Foreigner tribute band, Head Games, and handle the essential sonic programming for the Van Hagar tribute act, Can't Drive 55.

My live resume runs deep. I spent a decade as the driving force behind Devomatix, Atlanta's legendary Devo tribute; faithfully recreated Kraftwerk's pioneering electronic sound with ElektroPop; brought powerhouse vocals and three-part harmonies to the 70s West Coast tribute act Redhead Diamond; and performed in Transylvanian Orchestra, a theatrical rock concert that combined a live band, gothic characters, and choreography into a story-driven Fright Fest spectacular at Six Flags Over Georgia. Whether I'm tearing through the frantic organ solo of "Cold As Ice" or channeling the driving synth-pop of Kraftwerk, Devo, and Duran Duran, my music is backed by the influence of synth-royalty: Tangerine Dream, Howard Jones, Thomas Dolby, and Jean-Michel Jarre.

The Drive

My work is grounded in curiosity, persistence, and a blue-collar work ethic. Whether I'm migrating my live rig from Apple Mainstage to a hardware Korg Nautilus, designing retro gameplay mechanics, or listening to my favorite classic albums while programming, the goal remains the same: building immersive environments that make complexity disappear.

Whether I'm taking you back to a 1980s airport terminal, dragging you down into a symphony of madness, or rocking an outdoor amphitheater, I remain a purist of the groove. In an era where digital perfection is bought with a click, I'm still turning real knobs, chasing real frequencies, and keeping the heart of the Cassette Generation beating loud and clear.