Baked Beans

I pulled together Baked Beans because I wanted to sit with what happens when you strip away the polish. Most of my work leans into orchestral weight, sure, but these tracks—especially the ones like Binary Emotions and Rising Sun—are where I got curious about raw juxtaposition. What if the strings didn't smooth over the distortion? What if they fought it, or ignored it entirely? The alternative metal framework here means I'm working in odd time signatures and modal scales that don't resolve the way listeners expect. There's friction built in. The guitar riffs land hard; the violins don't apologize.

“I kept the production clean enough that you can hear every layer: the bow scrape, the fuzz pedal, the resonance.”

Mozart Rocks is the outlier that actually summarizes the whole thing. Classical melodic DNA meets aggressive drums and thick distortion—not because it's cute or clever, but because that collision actually reveals something about both languages. When you hear orchestral arrangement butting against a metal breakdown, you're hearing two different ideas about tension and release. I kept the production clean enough that you can hear every layer: the bow scrape, the fuzz pedal, the resonance. No drowning anything out.

Baked Beans works as a collection because it's all asking the same question from different angles—how do acoustic and electric, organic and processed, restraint and aggression share the same space without one consuming the other. The result sits somewhere between symphonic metal's ambition and alternative metal's willingness to sound uncomfortable.