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My musical work also draws heavily from my own writing, including poetry from my book Orchestrated Madness, originally published in 1998, as well as a large body of new poetry written over the past several decades. Some pieces are adapted into lyrics, while others remain abstract, serving as emotional or conceptual foundations for the music. In many compositions, I move away from traditional lyrics altogether, using manipulated vocalizations, synthesized voices, whispers, screams, layered harmonies, and experimental sound design to create immersive noise and atmospheric works. My live performances extend beyond music alone, combining projection art, theatrical lighting, fog, bubbles, cosplay, dramatic acting, and multimedia elements to create an immersive performance art experience where music, visual art, and storytelling merge into a single living installation. Within the last year, I’ve begun using AI as one part of my music-making process for my performance art projects, including the most recent Jupiter’s Thunder album and my new project, XParaMental. I use AI as a creative tool for generating ideas, textures, sounds, and experimental structures, but the work is still shaped by my own vision, voice, editing, and direction. I continue to edit and arrange the music in Logic Pro, and I still collaborate with other singers, musicians, and producers to refine the sound, mix, and overall production. For me, AI is not replacing the artist or the producer — it is another instrument in the process. The final work comes from my performance art concepts, my vocals, my editing choices, and the world I am building around each project. https://youtube.com/shorts/6UIQN-aHrE8?si=1RVHrye242Hs0GNW

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