He is a self-taught mason of digital creations and sonic extravaganzas. Combining elements of Progressive Electro, Dark Ambient, and IDM, he crafts his own twisted world filled with grids of galactic swirls, meteoric punctures, and cinematic projectiles. He credits Orbital for inspiring him to make electronic music yet he denies to be seen as Orbital's underground follow-up act. His sound has been compared to the sound of Chemical Brothers, Boards of Canada and Akira Yamaoka but he says he is just learning from them.

He has got four independent releases up to date including Smoke & Mirrors (2005), Hydra Missing: Fear The Worst (2006), Fractal Collapse (2008) and Verity (December 24, 2009) which was premiered on KUCR 88.3 FM
Siked Electronixx Friday night show with Walter Douglas on January 7, 2010. His albums have been reviewed by Hybrid Magazine, Music Dish, Release Magazine and Absolute Punk Magazine.

He has been voted Artist of the Year 2008 by Artists Forum Magazine annual poll.
His song "Things Down There" has won 17th Billboard World Song Contest of 2010.

Here is a part of his interview posted on Associated Content in May 2010:

SF: What are the origins of the concept for Verity?

AL: Most of the ideas for Verity have come from a series of video game soundtracks. Despite the common view on a video game music as a background addition to visuals intended to be just an atmosphere enhancer, I thought may be I can try to write something that would allude to a video game sound but be capable of creating a mood all by itself. So I looked for the elements that might work in making a difference here and implemented them in the album.

SF: Where did you record Verity? What gear did you use for the recording? Did you have an engineer or a producer or did you do all of the work yourself?

AL: All the work was done at my home studio. I used a combination of software synthesizers, plug-ins and editors that were capable of handling the processes I had to use. I did all the writing, programming and producing myself, additional mixing was handled by FPM and mastering was done by Sam Skaf at MixLab.

SF: Verity has ten tracks in it. How many drafts did you make for this album altogether?

AL: I've written about thrice as much. Those ten seemed more appropriate for the album's mood so I have built them into full tracks but out of whatever got left aside a bigger part is definitely useful so I'll be revisiting them soon.

SF: How would you compare Verity to your previous releases?

AL: There is a big conceptual difference between them. All past albums have been written track by track, meaning although I had an idea as to which direction I'd be taking, there was no clear perspective on a whole album's vibe. With Verity, I felt like I have to put more into it and treat it differently. So I started with figuring out what do I want from this project and which elements should I use in order to shape the sound according to my vision for it. There was much deeper experimentation involved, especially with creating all kinds of gloomy sound effects and weird timbres that would help to form the proper atmosphere. The set of tools I used for Verity was way more extensive than my arsenal a couple years ago, so I had to go through some really elaborate manuals in order to know how to work with it effectively. And finally the themes I created for Verity were chosen much more carefully that those used before when I went with the first idea that came up in my head.

SF: There is a weird image featured all over Verity artwork. What exactly is it?

AL: All I know this is not a rabbit and I never saw anything like this before I created it. I was playing with a bunch of fractal images twisting them in every way possible and came up with this creature. I found it interesting because I could see at least two different things in it.

SF: What are your aspirations for Verity?

AL: It'd be nice if some music from it made it into a video game, or an indie film, especially in mystery/ horror genre. Big part of the album is taken by dark Illbient music so I think this kind of placement would be appropriate. I also hope to get some attention from college radio, especially on the West Coast. There are few important songwriting contests I'll be submitting the tracks to during 2010. There is something else in the pipeline but I'd rather discuss it after we make it happen.