Nathaniel Eras is an American born multi-disciplinary conceptual artist, sound designer and composer based in Los Angeles & Playas de Tijuana. Works include music scores for films “Drunk Bus”, “How I Learned To Fly”, and “Bedtime”. Other sound design work includes IFC’s Speak No Evil, A24’s Midsommar, and Blitzar Media’s “And They Will Talk About Us”.
Eras’ contemporary sculpture and interactive works include “Behold A White Horse“ a multi-media interactive installation at Kunsthalle Faust Hannover Germany, “Fronteras Simbióticas” as an interactive sound design architect with MDAP for World Design Capital: 2024, presented at CECUT Centro Cultural and Antiguo Cine Bujazan "The Embrace Of The Infinite Here & Now" as a featured artist in residency at NettNett Space Tijuana BC MX and “Never Dies The Dream” a collaboration and interactive sculpture / sound installation with Albert Reyes at Pacific Design Center Los Angeles. Eras also cites inspiration from experimental performance art and underground rave culture, scenes in which he is deeply entrenched in running and developing his art practice at the collaborative ephemeral art space Vertexx.io 2017-2021 which hosted some of Los Angeles' most revered gatherings in recent memory.
On Nathaniel Eras' evolving music series project stemming from earlier conceptual works, a series of 3 releases are slated for release titled 'Omniaglyph 0,1 & 2. The LA-based producer offers a sonic triptych and averts any strict notions of genre, diving headfirst into deeper, esoteric soundscapes and embracing the moodier elements that have punctuated his catalog by pairing mystic beauty against a bleak, industrial and dystopian compositions. Taking an instinctual approach to his music, Eras' creative process merges sounds, patterns, and textures intending to open discussion and connect disparate musical ideas.
With a zeal for noise, minimalism, and dizzying sense of rhythmic prowess - the 'Omniaglyph' triptych wields power with restraint reminiscent of the adventurous post-human atmospheres of Autechre and the dark growling sound design of Ben Frost or Jóhann Jóhannsson. Riding the fine line between drone squall and euphoric ambient explorations, Eras' latest is a potent tangling of film score abstractions with spectral electronics. While much of 'Omniaglyph' is a solitary effort, there are collaborative experiments with live instrumentation featuring saxophone (Scott Page of Pink Floyd), electric viola (Kathia Rudametkin), modular synths by (Samur Khouja) and musique concrète tape loops (Ana Reptiliana).
Eras’ contemporary sculpture and interactive works include “Behold A White Horse“ a multi-media interactive installation at Kunsthalle Faust Hannover Germany, “Fronteras Simbióticas” as an interactive sound design architect with MDAP for World Design Capital: 2024, presented at CECUT Centro Cultural and Antiguo Cine Bujazan "The Embrace Of The Infinite Here & Now" as a featured artist in residency at NettNett Space Tijuana BC MX and “Never Dies The Dream” a collaboration and interactive sculpture / sound installation with Albert Reyes at Pacific Design Center Los Angeles. Eras also cites inspiration from experimental performance art and underground rave culture, scenes in which he is deeply entrenched in running and developing his art practice at the collaborative ephemeral art space Vertexx.io 2017-2021 which hosted some of Los Angeles' most revered gatherings in recent memory.
On Nathaniel Eras' evolving music series project stemming from earlier conceptual works, a series of 3 releases are slated for release titled 'Omniaglyph 0,1 & 2. The LA-based producer offers a sonic triptych and averts any strict notions of genre, diving headfirst into deeper, esoteric soundscapes and embracing the moodier elements that have punctuated his catalog by pairing mystic beauty against a bleak, industrial and dystopian compositions. Taking an instinctual approach to his music, Eras' creative process merges sounds, patterns, and textures intending to open discussion and connect disparate musical ideas.
With a zeal for noise, minimalism, and dizzying sense of rhythmic prowess - the 'Omniaglyph' triptych wields power with restraint reminiscent of the adventurous post-human atmospheres of Autechre and the dark growling sound design of Ben Frost or Jóhann Jóhannsson. Riding the fine line between drone squall and euphoric ambient explorations, Eras' latest is a potent tangling of film score abstractions with spectral electronics. While much of 'Omniaglyph' is a solitary effort, there are collaborative experiments with live instrumentation featuring saxophone (Scott Page of Pink Floyd), electric viola (Kathia Rudametkin), modular synths by (Samur Khouja) and musique concrète tape loops (Ana Reptiliana).