Moving8Track172

Genreless by design. I chase whatever has something in it, and my ear runs the whole map: Michael Franks, Rickie Lee Jones, Hubert Laws, Yellowjackets, and Hiroshima for the vocal jazz-fusion warmth; Snarky Puppy and Chick Corea for the chops; Alarm Will Sound and Penguin Cafe Orchestra for the chamber-ensemble strangeness; Prodigy, Ministry, and Kraftwerk for the aggression and the machine pulse; The Smiths, Depeche Mode, and Art of Noise for the mood; Van Halen, Tool, and Pink Floyd for the rock backbone; Gershwin, Beethoven, and 50s Miles Davis (Jarrett's Köln Concert too) for where the language actually comes from. Not "all genres" as a throwaway claim — those exact records, back to back, because that's actually how I listen. Vocal quality matters most. A real, present voice on a simple arrangement beats a perfect arrangement with a thin one, every time. Lately I've been writing in Catalan, Brazilian Portuguese, and French — languages I don't speak. Proof to myself that music doesn't need fluency to land. I know what a record is supposed to feel like before I know what the words mean, and I build toward that feeling. Wide map, one ear. Still learning in public.