Born in Rome, Italy, I moved to Canada at the age of six, adapting to a new culture while preserving my Italian heritage. My early musical influences included classic Italian songs from the 50s to the 80s, alongside contemporary pop hits. At ten, I pursued piano lessons at my father’s insistence but quickly lost interest, opting instead to teach myself music by ear, using a boombox and an electronic keyboard in my basement. 

In high school, I developed a fascination with computers, discovering their potential for music production. By sixteen, I was writing my own songs, inspired by new wave and rock bands like Depeche Mode, New Order, Echo and the Bunnymen, and The Police. My passion led me to leave high school at eighteen to pursue music while working at my father’s travel agency. During this time, I studied piano at the Royal Conservatory of Music in Toronto, where I developed a deep appreciation for classical composers like Chopin and Beethoven. I later returned to complete my high school diploma and enrolled in York University’s music department before transferring to Concordia University in Montreal to study composition with Allan Crossman and Wolfgang Bottenberg.

My time in Montreal allowed me to compose incidental music for theatrical productions in Toronto, Montreal and Latvia; and my exposure to 20th-century classical composers like Stravinsky, Britten, Cage, and Reich further enriched my musical language. I was writing a lot and learning the basics of how to produce music electronically, using my computer and Korg 01/W. Seeking new opportunities, I moved to the UK and completed my degree in Music Theory and Composition with honors at Goldsmiths College, University of London. During this period, I composed several chamber works, transcribed music for theatre, and taught theory, harmony, and composition. My piece, *At the Fountain of Youth, A Phoenix*, premiered at the May in Miami Festival in 1997, and my *Autumn Wind Quintet* was performed by The London Chamber Group at Conway Hall. And I was in an experimental music ensemble with some friends from college where we played music in the south of England in abandoned churches and ancient structures.

In 2005, I moved again, this time to New York City and made a commitment to learning music production starting with Heidi Siegell’s album *Us Lonely People* in 2008. While I was doing that, I transitioned into sound design and composition for film, collaborating with a wide range of directors and storytellers across various genres. My early film projects included collaborations with director Mark Cabaroy on *Masculinity* (2009), *Blindsided* (2010), *The Sweet Life* (2011), and *Everything You Always Wanted to Know About Bagels* (2012). Scoring these films allowed me to develop my voice as a composer, honing my ability to shape narrative through music. I also worked with documentarians, scoring *Poisoned Chalice* (Francis Mead, 2006), *Our Hawaii* (Kryssa Schemmerling, 2010), *Piazza Petawawa* (Rino Noto, 2012), and *History in the Making* (Fred Anguera, 2013). Additionally, I collaborated with Roy T. Anderson on a series of documentaries chronicling the Maroon people of Jamaica: *Akwantu: The Journey* (2012), *Queen Nanny: Legendary Maroon Chieftainess* (2015), and *African Redemption: The Life and Legacy of Marcus Garvey* (2021).

In 2015, I was commissioned by the United Nations to compose *Fanfare for All Peoples* to commemorate the opening of its 70th General Assembly. That same year, my symphonic tone poem *XLIV* was commissioned and premiered by the Sage City Symphony in Bennington, Vermont. The following year, *Where There Are No Mirrors* was commissioned and premiered by the Amernet Quartet at the National Opera Center in New York.

My narrative film work continued to evolve, spanning a variety of styles and storytelling approaches. Notable projects include *Caught* (Elizabeth Page, 2011), *Fire Island* (Francis Mead, 2013), *The Parker* (Victor Verhaeghe, 2014), *The Renovation* (Brian O’Neill, 2018), and *Mr. Sam* (Zeus Kontoyannis, 2019). My score for *Ruth* (2020) won two Best Composer awards, and my work on *Ro & the Stardust* (2023), an Oscar-qualified film now on Netflix, received two awards for Best Score. Other recent projects include *Jesus Would Have Loved Punk Rock* (2022), *A Spoon of Honey* (2023), *Glen Reige 20 WP* (2023), *The Realtor* (2024), *Spice King* (2024), and *Drifters* (2024). I also contributed additional music to Woody Allen’s *Rifkin’s Festival* (2020).

In 2022, I received a second commission from the United Nations to collaborate with the renowned animator Majid Adin and create *Flight for Life: A Climate Migrant Story*, highlighting the plight of those who have to deal with the harsh reality of climate migration.

I continued work as a producer, producing Heidi Siegell’s follow-up album *In Stillness*, which won multiple awards. My studio attracted various artists, and I produced records for Brian Hugh O’Neill, Beauty in Detritus, Spencer Chandler, Jeff Cubeta, Bobby Boas, and Butch Phelps. In 2024, I released *Abandoned Structures*, a self-produced album of original semi-autobiographical songs slowly developed over 10 years.

I have also produced music videos for Heidi Siegell, Bobby Boas, and Butch Phelps. A particularly significant project was my collaboration with choreographer Giorgia Squillace on *Corpus Meum*, a multidisciplinary artistic project brought to life as a compelling music video. This collaboration allowed me to expand my musical storytelling into the realm of dance and visual art, further deepening my artistic expression.

With over 30 years of experience, my career spans composition, production, and performance, blending classical and contemporary elements across multiple disciplines. My passion for storytelling through music continues to drive my work, whether scoring films, producing records, or crafting original compositions.