"Each little dribble is a thought, my family and what not. It's too late to turn back time. You'll have to live, or rather die with it."

   Big Scruff is a musical exploration of repression and suicidal ideation, and how those things can rule your life. Throughout the writing process I pulled from my own experience of struggling with said themes as a trans person from the South, and as someone who spent years turning a blind eye to that fact. The EP serves as a journey through the evolution of my mindset over the years. Starting with the simple realizations and then leading into an exploration of the deeper feelings at play. I spent a year off and on working on this project, which started off as a somewhat lighthearted album emulating a children's book, and then took a massive turn to become what it is now. It pulls from a wide range of sonic influences, including bands and artists such as; Built to Spill, Fugazi, Sleigh Bells, The Dismemberment Plan, Sword II, 800 Cherries, A$AP Rocky, and Boris. 

   Every sound that is heard in this project was recorded at home with the very limited amount of equipment that I own or have borrowed from friends. This includes a guitar, a practice amp, five pedals, and a small mixer/USB audio interface. These limitations, while frustrating at times, lent themselves to a more eclectic sound palette that works in tandem with the messaging and feel of the EP itself. The vocals are recorded by either myself or Arianna Ganley. Arianna's voice adds a much-needed layer to the soundscape, accenting the instrumentation with unique melodies. Additional synthesizer and melodica arrangements on the penultimate song "Wii Sports Resort and the Devil's Cabaret" were recorded by Lilith Videt Weeks. All songs are mixed by myself in Baltimore, MD, and mastered by Kyle Weeks down in Jacksonville, FL. It will be officially released onto streaming services on 02/06/26. 

"There’s a great big house fire burning out of control. It’s already consumed half the homes on the block. I can see a family quietly writhing in one of the overgrown yards. Their hands smile wider than your eyes are allowed to see. "

   This short was produced in February of 2025, with Lilith Videt Weeks writing and directing, and myself starring and crafting the soundscape. From foley to the score itself, I spent four whole days meticulously creating the auditory world of The Miracle. I leaned into its voyeuristic, fuzzed-out, and nightmarish visual aesthetic by employing near-broken technology to create ethereal groans and howls, with manual feedback to indicate movement and reality manipulation. I pulled goofy samples from the internet and distorted them to be disturbing and guttural. The imagery captured by Lilith, as well as her precise direction, gave the perfect confines on where to go musically. The emotion sewn into the visual fabric of the short made it almost easy to score.

   The creative process alongside the feedback it received was a huge stepping stone artistically. After being able to see how affecting my creative efforts could be, I was driven to pursue bolder, and more challenging artistic endeavors moving forward. The short screened at the New/Next Film Festival as a part of the Maryland DIY block of short films, at New Works Film Festival in March 2025, and as an honorable mention during the Baltimore Horror Film Fest in October 2025.

"There's no doubt about it, Julia sure does love her special dog, Sparky. But how Sparky feels about Julia might just be a different story entirely..."

   I co-directed this film alongside Julia Cooke and Lilith Videt Weeks, who came up with the idea in a coffee shop one morning. Not only was I partially behind the camera, I built an eerie score that sucks you into the depravity that is Bone on the Nose, complemented by the whimsical soundtrack composed of songs by Null. Julia Cooke and Patrick Flanagan's frantic performances make you question why someone would do that, and that's definitely the point. All props and costumes were made by Lilith and Julia, as well as the animations that overlay a good portion of the short. 

  The satirical romp has opened many creative doors, mainly due to our focus on in-person events that prioritize audience involvement. It screened at the New Works Film Festival in November 2025, as well as the Sideworld Video Festival on January 15th, 2026. It was accompanied by a live performance that added an extra layer to its already ever-present absurdity.

   My previous music project with Lilith Videt Weeks and Arianna Ganley. This EP served as a learning experience for collaborative efforts and DIY music production. I took on a lot of the producing efforts, which had a steep learning curve. Most of the EP, excluding a verse or two, was written by Lilith. They add an eloquent emotional depth to a lot of the songs. Arianna's vocals and melodic inclusions help bring life to otherwise stilted sections.

   While some aspects of the production side of this EP are less than satisfactory, it is deeply important for my development as an artist and pushed me to better my artistic and musical abilities for later, more polished pieces. Luke Clarke and Noah Clarke directed a music video for the first track on the album, Mr. Toad's Wild Ride. The majority of the unused footage became the building blocks to the visualizer for my next project, Big Scruff. To accompany the release of the EP, I directed four Twilight Zone-inspired advertisements in which Patrick Flanagan stars as the mysterious spokesperson for the band. To create the visual style of the shorts, they were processed through an analog tape and then digitally compressed.

   In late 2021 and 2022, while living in Tallahassee, FL, I volunteered with an organization formerly known as Muse Tallahassee that hosted and promoted live shows in the local Tallahassee music scene. I assisted with event planning/running, photography and videography. I took concert photos and videos for their promotional Instagram posts, and edited interviews and documentary shorts. The photos listed are ones that best show my creative eye, which was further developed in my directorial efforts on Bone on the Nose. Also included are other photos taken and edited in the same time period.