More than just a game, Simogo’s Year Walk is an enthralling, eldritch mix of Swedish Norse mythology and first-person iPhone gameplay that takes the player on a walk to remember.

Year walking, a Swedish tradition in the 19th century that one undertook at the stroke of midnight, meeting strange creatures along the way to the church, all to catch a glimpse through the fabric of the universe and into the future - to see if you would be wealthy, to see if you would live… to see if you would be loved.

This is the creepiest, most beautiful and most nonplussing puzzle game I have ever played. Go on an Årsgång and meet the Huldra, the Brook Horse, the Mylings, the Night Raven and the Church Grim in order to see or change your predestined fate.

Will the antibodies come for me? Am I a virus in the eye of the universe? This is a rift in the fabric of the very existence of everything. I can hear the heart of the universe beating. The heart beats stronger, but I will break it and see beyond everything.


Recreating mythologies [ 1 ] in Cinema 4D. I’m calling this Arbiter, as it was initially inspired by phone display booths. Mediation, mediator, the hum of electronic sheep, dreaming.

Starting to grasp a better sense of what I might want to do. Ambitious, but need to be careful not to be overly ambitious and fail to communicate anything at all in pursuit of spectacle.

Export objects to AE and play with virtual space, or construct everything - a weird ontographic world of objects - in C4D?

She's Come Undone

I guess it’s funny how, despite my best attempts to shield my heart, you slipped through the chinks in my armour and wound your way through my veins into the eaves of my heart.

For the most part I exist in a limbo wonderland. The air moves languidly, living reality through a filter. You shatter it, like glass. It bleeds everywhere, so I have to tread carefully, tiptoe as to not break the illusion.

You keep asking me if I’m real. I don’t know - maybe I’m just a product of someone else’s prolific image imagination. What you mean, perhaps, is if I’m genuine. Yes, a thousand times over.

It’s funny because you don’t seem to realise how much you’re coming to mean to me. It’s funny because I didn’t realise it, either. You came to me like a wave beneath my feet as I stood there, dazed, beached on an eternal island, and before I knew it I was submerged in you, through you, with you. And time is moving again.

Yes, yes, yes, a thousand times over. You meet me at that vertex, that apex where the sun merges with the sea. I always thought being alone was an inevitable outcome of the human condition, to ultimately walk it alone, this contemporary condition: our lives of quiet desperation. Always together, always alone. Hypermediated, hypersaturated, hypersocial.

Are androids truly capable of dreaming of electric sheep? It’s funny because you’re think I live half-waking in an alternate dimension when you are the one who is alien, fascinating, bewitching. A creature from the otherworld. Like I’m a firefly, I’m drawn to your cold, blue light, which beams, unwavering, through the static of my dream.

You were (are) disbelieving of my manifestation, but to me you come of little surprise: it’s strange how comfortably you sauntered into my mind and made a corner there, like you’ve always belonged here. Not a meeting, but a homecoming.

Somewhere, there is an eternal garden that is perpetually in bloom. It pulses and sighs according to the beat of its heart, a crystalline rose that glistens like tears and is cocooned by barbed vines reaching up from the dark, salt earth.

The rose knows of the garden, has always existed in the garden, but has never really seen the garden. It merely observes its existence through the perforated cracks in between. For a hundred years of solitude it observed a millennia of generations of reincarnation, over and over again.

And then, suddenly, a light springs unbidden into the sanctuary, hot and riddling holes in the vines. I’m terrified - what if the foreign air poisons me? I’m used to breathing shallowly so as to not feel deeply. What if everything I’ve glimpsed is just that - a shimmering mirage?

And yet despite everything, I find myself releasing my shield, my rose tinted filter. Irrevocably, I find myself drawn to the light.

Finally, I lower my guard and peer through the crack in the unbearably blue sky, and through it I see you.

Some of the most banal, kitschy, vapourware and vaporwave-esque sound out there exists in games (like Pokemon), Professor Layton, lounge music, etc… The upbeat yet nondescript instrumental music you hear in the background and learn to tune out.

A soundtrack to the everyday.

I found a website, VG Music, which allows you to download these tracks with their full MIDIs so I can try to mix it. I’ve created a really random, experimental Pokemon/Professor Layton plunderphonics mix that actually still needs a lot of work, but it’s fun to see how even the most subtle alterations and tuning tweaks can add a controlled discord to the notes.


Angertides by AgNO3; new album cover for my label Kolourbridge’s July premiere!

I’m revealing both the final cover and some screenshots of my process because this was a super difficult album cover - I changed the colours about a million times as well as the ocean until I was happy with it. A lot of how it eventually turned out had a lot to do with the kind of experimental edgy music it was fronting. AgNO3’s release is hella dope, creative and experimental, veering on the cusp between electronica and indie rock - a deliciously industrial feast for the ears. Glitchy, distorted and psychedelic, the notes grind in a dystopian sonic landscape from which emerges the musician’s low, captivating voice - one that seems to simultaneously threaten to destroy and create.

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