All albums are available at unless otherwise noted.

Live sets are detailed at SkoddieLive and are available at

Many (but not all) albums are available on iTunes, Spotify, Amazon Music, etc. Simply search for "Skoddie".

I also curate and contribute to challenge compilations for my Facebook group Electronic Music Philosophy on a six-week cycle. These are available at

Conscious Separation*
(June 2015)

Conscious Separation
My return to music after a 6-year hiatus caused by a mental break. Focused on ambiguity, and designed to let the listener ascribe their own meaning to it.

Biaxially-Oriented Polyethylene Terephthalate*
(November 2015)

Biaxially-Oriented Polyethylene Terephthalate
A VHS Concept album that I began on my birthday in 2015. It grew out of my excitement towards Vaporwave combined with my fear of producing more conventional music.

χmas Album*
(December 2015)

χmas Album
A "joke" album I created in less than an hour. It was created by manipulating samples of my least favorite christmas music, and I had hoped to capture the sense of isolation and despair that christmas often represents to me. As the years have gone by this album has gained popularity, and even I am surprised with the depth of the statement it makes.

(August 2016)

This is a live album, and the fruits of my desire to perform a show on Twitch. The music was entirely improvised using piano, synthesizer, computer effects, and on one track I tried to sing.

(January 2017)

The results of my experiments with Reaktor 6.0. Each track is a different generative patch, which means that once loaded they will continue to play themselves in a semi-random fashion. In theory each patch can perform itself indefinitely. For a time I had expected that this would be the first in a series of generative works made with Reaktor, however my style evolved more towards drone music and I didn't feel right putting the generative moniker on them.

(April 2017)

(Kyogi Rikon)

Kyogi Rikon
The title is a complex translation/interpretation of the phrase "Irreconcilable Differences" into Japanese. This is my quintessential Vaportrap/Vaporwave album. Taking over 11 months to produce, this was the realization of my ability to produce music within a more-conventional form, and do it quite well. Part of me had hoped that this album would get me some larger level of notoriety. Conceptually, this album explores a lot of my childhood, and the samples used frequently call back to specific experiences in my life.

On Saturday, After School
(May 2017)

On Saturday, After School
This album was the combination of my desire to make an album in a similar style to Nmesh, a tribute to the shows I used to watch while growing up, and my usual habit of making a ton of music on three day weekends. The entire record was created during a Twitch livestream, though on day 2 I got a little 'tryhard face'. This is a very 'traditional' vaporwave album, and doesn't feature quite the level of sample manipulation I've become known for, but it succeeds at communicating the dreamstate of my childhood. Fun fact: the original title of this album was Saturday Morning, After School, but I mistyped it when creating the cover art and didn't want to go back and redo it.

(Pi)ano Phase
(August 2017)

(Pi)ano Phase
This is my performance of Piano Phase by Steve Reich, which was inspired by an tutorial example that ships with Sonic Pi. I expanded on the example by adjusting the tempo and phase, doing a little sound design, and adding a polymetric bass line and bell accent. I also programmed in the third melody of the piece at the end. I may go back and revise it at some point to include all three melodies. This entire piece started as a Sonic Pi practice session, but I was so pleased with my work that I decided to release it.

Eight Twelve EP
(October 2017)

Eight Twelve
An experiment in making some fairly intense breakcore in 7/7 and 11/11. While many may say those time signatures do not exist, I was trying to capture a rhythmic feel that didn’t sound like it was compounded. I’m not sure I succeeded in this, as much of it has something of a free time feel to it.

(December 2017)

A surprisingly successful experiment in making a piece of drone music that could be run for hours without boring the listener. While this release is slightly over 2 hours, the patch could run for days without technically repeating itself.

(March 2018)

Bendi Sekkusu Ho-uissuru
A saxy lo-fi vaporwave split with NuReality. This began life as a series of tracks for a split with //◭// hd netscape //◭// in the summer of 2017, and after sitting on the shelf for a few months NuReality stepped in to complete it.

(April 2018)

My first release using my Eurorack modular synthesizer. I tried to create a patch which used everything that could be an oscillator as an oscillator. After some positive feedback from friends in a Facebook group, I decided to record and release it.

Sinebeat Equations
(May 2018)

Sinebeat Equations
This album is the result of my experiments in using ByteBeats to modulate sine waves. It covers four equations I was particularly fond of, and is presented at two sample rates. While the tracks sound similar at different sample rates, the carrier frequencies of the sine waves stay the same which creates interesting variations. The equations were also used to generate the cover art, not including the lettering. The actual data used for the cover is identical to the 48k presentation, just interpreted as 8-bit greyscale pixels instead of 8-bit audio samples. This album is fully open source.

Make Techno Queer Again: Vol. 1
(August 2018)

Make Techno Queer Again: Vol. 1
The first in a series of studio techno sets recorded in a single take. This is intended to be a snapshot of the techno I'm making at a particular time, and over the course of the series it should show my progression as an artist. Never forget, #maketechnoqueeragain

Technically Inaccurate
(August 2018)

Technically Inaccurate
Technically Inaccurate began life as a collaboration piece with Glenn Sogge. I created a Reaktor patch which he was going to use to create a new piece, and I was going to do the same with a patch he created. Unfortunately my patch ended up being too intense for his machine, so he ended up running my audio through a new patch instead.

I was happy with the output of our collaboration, but I also felt that the output of my patch was strong as it's own piece. I went back in and made further tweaks to help it function in long form, resulting in this album.

This meandering piece is generated by a massive digital logic tree being triggered randomly, feeding back into burst generators, both of which control a series of audio gates as well as over 12 modulators. Beginning at the 30 minute mark, the piece is further processed by additional stacked delay circuits which culminate in a cacophonous mess before abruptly halting.

This album is available at Studio 4632

(November 2018)

This album is the second set of experiments using ByteBeats to modulate sine waves. I expanded my code to run at 44.1khz and 16-bits, then experimented with modulating more parameters than I had on Sinebeat Equations. This album includes 8 equations running at a single sample rate, however in some cases the code is more complex than a simple ByteBeat.

The cover art was created by A M K A D E using bitmap renderings of the music.

This album is available at Bit Rot

(January 2019)


*These albums are stylistically linked, and were all produced with essentially the same technique of layering heavily manipulated samples of commercial music.