Nathaniel Eras is an American born multi-disciplinary artist, sound designer and composer based in Los Angeles. Current and recent works include composition scores for American feature films “Iffy”, “Drunk Bus”, “How I Learned To Fly” and “Soldiers Heart”. Other recent work includes music for IFC’s Speak No Evil, A24’s Midsommar feature trailers, and “Behold A White Horse“ multi-media interactive installation at Kunsthalle Faust Hannover Germany. Eras also cites inspiration from performance art and rave culture, scenes in which he is deeply entrenched running the collaborative ephemeral art space Vertexx which has hosted some of Los Angeles' most interesting multi-disciplinary shows and underground raves in recent memory.
On Nathaniel Eras' evolving music series project stemming from earlier conceptual works, 3 unique yet symbiotic 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 extensive 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), and musique concrète tape loops (Ana Reptiliana).
On Nathaniel Eras' evolving music series project stemming from earlier conceptual works, 3 unique yet symbiotic 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 extensive 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), and musique concrète tape loops (Ana Reptiliana).