Greed

I pulled together Greed as a collection of the songs that best show what I've been chasing across these last few years—that collision between metal's aggression and the textural weight of strings. Some of these tracks go back to Man of Progress, my first proper release; others came later, when I'd figured out better how to let a violin sustain underneath a distorted riff without one eating the other alive. What tied them together in my mind wasn't theme so much as approach: every one of these songs treats orchestral arrangement and heavy guitar as equals, not decoration and foundation.

“The track structure actually works, the piano and distortion don't cancel each other out.”

Binary Emotions and AI Blindness sit near each other here because they both ride that syncopated, slightly off-kilter rhythm feel—something about digital anxiety that doesn't resolve into neat 4/4. Then you've got Greed itself, which closes out the collection and probably gets closest to what I was reaching for thematically: materialism and want reflected back through dynamic shifts and these moments where everything drops away to just strings. Mozart Rocks is in here because it earned its place; treating Baroque phrases through a metal lens turned out to be more than a gimmick. The track structure actually works, the piano and distortion don't cancel each other out.

What you'll hear across these eleven tracks is alternative metal that doesn't apologize for the strings, and doesn't use them for atmosphere alone.