Nathaniel Eras is an American born multi-disciplinary artist, sound designer and composer based in Berlin and Los Angeles. Current and recent works include composition score for American feature films “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.
On Eras' evolving music project slated for release 2024 'Omniaglyph', the LA-based producer further averts any 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 - 'Omniaglyph' wields power with restraint reminiscent of the adventurous IDM beat science of Autechre and the gritty sound design of Lee Gamble or Demdike Stare. Riding the fine line between technique-focused drone squall and idea-propelled ambient explorations, Eras' latest is potent tangling film score elements 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). Eras also sites inspiration from performance art and rave culture, scenes in which he is deeply entrenched running the collaborative ephemeral art space Vertexx.io which has hosted some of Los Angeles' most interesting multi-disciplinary shows and underground parties in recent memory.
On Eras' evolving music project slated for release 2024 'Omniaglyph', the LA-based producer further averts any 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 - 'Omniaglyph' wields power with restraint reminiscent of the adventurous IDM beat science of Autechre and the gritty sound design of Lee Gamble or Demdike Stare. Riding the fine line between technique-focused drone squall and idea-propelled ambient explorations, Eras' latest is potent tangling film score elements 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). Eras also sites inspiration from performance art and rave culture, scenes in which he is deeply entrenched running the collaborative ephemeral art space Vertexx.io which has hosted some of Los Angeles' most interesting multi-disciplinary shows and underground parties in recent memory.