SEVA ZAKHARENKO
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LEMNISCATE (2018)
In 2010, I played guitar in a band called “Approaching Infinity.” Just before we all split off for college, we attempted to record an album at a local studio, and unfortunately ran out of time. I made it a goal after college to resurrect the project and record/write some new pieces. Lemniscate taught me a lot about mixing and mastering music, composition, and the general etiquette of bringing an album from recording to a finished product. All pieces were written by the band and I, and the entirety of the album was performed, composed, mixed and mastered by myself – with the exception of a guitar solo on the final track.
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THE REALIST (2017)
The Realist was a project born from the idea of combining rock/metal with rap vocals. This was my initial dive into the world of mixing, though it began primarily as a way for me to get more experience composing. Having never written music for rap vocals, this was a great creative challenge. The Black Collar EP was home recorded alongside the vocalist – Sean Lewis – and sent off to Electric Wilburland studio in Newfield, NY to be mixed and mastered by Will Russell.
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TUESDAY (2018)
I was asked by a former co-worker to create music for an animation he was creating. The song was played during the end credits. While the animation itself isn’t available online anymore, the song is meant to give the overall feeling of “you’ve been through a lot, but things are going to get better now.” This was my attempt at conveying this emotion through songwriting.
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Benefit off the Doubt (2018)
The vocalist of The Realist, Sean Lewis, began his own solo project following the release of Black Collar. Under the name Lewcid, his first album, Benefit off the Doubt, was entirely composed and recorded by Lewcid. My role in the album was primarily to mix and master the music. This was a unique challenge for me as the music was of a genre that I am not entirely comfortable working with. I also provided a little creative direction with some of the compositions, and received creative direction from Lewis in the mixing department as well.
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BOSS MUSIC (2017)
There was a period of time in 2017 where I was really interested in experimenting with orchestral libraries. Being that orchestral music is often very fitting in video games, I decided to make a “Boss Battle” theme. This was my attempt at conveying a sense of urgency and magnitude to the player of this hypothetical boss battle.
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I WISH I COULD TELL YOU (2017)
Being that most of my music is of a typically upbeat and intense flavor, I wanted to try something far from what I’m used to. Creating this song made me feel quite vulnerable as it was not only very emotional, it was also a style that I hadn’t really experimented with enough at the time. This song was my attempt at making a more serious and melancholy piece of music.
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Recommended First Listen: "Dragon Factory"
Recommended First Listen: "Straight Up"
Recommended First Listen: "Pressure Point"