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More European dates with @michaelstein performing our music from @strangerthingstv⏳light design by @mfo.light.space

Tickets available here: linktr.ee/strange2026 (in bio)

25 April • @novaspirala • Prague, CZ
10 June • @abconcerts • Brussels, BE
15 June • @theaterdeswestens • Berlin, DE
17 June • @waterfront_ulster_hall • Belfast, UK
19 June • @thecbso • Birmingham, UK
21 June • @roundhouseldn • London, UK
26 June • @fiastrapalooza • Fiastra, IT
03 Sept • @clubdrugstore • Belgrade, RS
05 Sept • @parallel62bcn • Barcelona, ES
08 Sept • @themusic.station • Madrid, ES
12 Sept • @brasswoodfest • Sopot, PL
14 Sept • @nationalpalaceofculture • Sofia, BU
16 Sept • @mmc_majesticmusicclub • Bratislava, SK
19 Sept • @hellenic_cosmos • Athens, GR
21 Sept • @3olympiatheatre • Dublin, IE

Coming back to Europe with @michaelstein to perform our music from @strangerthingstv soon⏳light design by @mfo.light.space

Tickets available here: linktr.ee/strange2026 (in bio)

25 April • @novaspirala • Prague, CZ
10 June • @abconcerts • Brussels, BE
15 June • @theaterdeswestens • Berlin, DE
17 June • @waterfront_ulster_hall • Belfast, UK
19 June • @thecbso • Birmingham, UK
21 June • @roundhouseldn • London, UK
26 June • @fiastrapalooza • Fiastra, IT

Recently caught up with musician, composer, producer, member of Survive and co-creator of the Stranger Things score, Michael Stein (@michaelstein).

Michael recently created the music for @moogsynthesizers’s Arrival of the Messenger, a video short showcasing the company’s new synth. He created everything from musical sequences, to birds, insects, and other synthesized foley textures using only the Moog Messenger.

We talk about his approach to creating the music, his first impressions of the Messenger, and what he’s working on now.

Here’s an excerpt on writing the music:

[“I’ve always loved Moog. We had a creative talk. They told me they’d be shooting the video soon and I’d have just a couple of days to write the music so they could play it on set. So I wouldn’t be scoring to picture, it was more like shaping a mood in advance. They wanted it to start ambiguously, not too dark or too ominous, real mysterious, then become frenetic and end on a revelatory, positive note - where everything comes to fruition. That’s tricky without a visual to anchor it.

At first, I didn’t really know what to do because it’s a monosynth, but then I started playing Rhodes through the audio in, finding chords to fit a mood. I figured out a chord progression, then came up with a sequence with the internal sequencer. It still felt empty without having visuals to match, so I started creating foley with The Messenger: birds and streams, a textural background of nature sounds. That gave me something more imaginative to write over. Then for the ending, I made this pseudo-choir through overdubs, just stacking layers. It was spontaneous and really fun.

I think the coolest part about it was after I was done, I asked them, “Are you cool with all the foley? The birds, the insects, the water?” and they were like, “Yeah, do more if you want!” I was like, “Ok, well can you tell me some of the items that might be in the video?” So basically, I started creating wind, crickets, owls, frogs, a bog/marsh. Every sound in that piece was made with the Messenger. Even the pelican case opening, people walking on leaves… everything.“]

Photos + interview: @danz_cm
Read the whole thing online.

Recently caught up with musician, composer, producer, member of Survive and co-creator of the Stranger Things score, Michael Stein (@michaelstein).

Michael recently created the music for @moogsynthesizers’s Arrival of the Messenger, a video short showcasing the company’s new synth. He created everything from musical sequences, to birds, insects, and other synthesized foley textures using only the Moog Messenger.

We talk about his approach to creating the music, his first impressions of the Messenger, and what he’s working on now.

Here’s an excerpt on writing the music:

[“I’ve always loved Moog. We had a creative talk. They told me they’d be shooting the video soon and I’d have just a couple of days to write the music so they could play it on set. So I wouldn’t be scoring to picture, it was more like shaping a mood in advance. They wanted it to start ambiguously, not too dark or too ominous, real mysterious, then become frenetic and end on a revelatory, positive note - where everything comes to fruition. That’s tricky without a visual to anchor it.

At first, I didn’t really know what to do because it’s a monosynth, but then I started playing Rhodes through the audio in, finding chords to fit a mood. I figured out a chord progression, then came up with a sequence with the internal sequencer. It still felt empty without having visuals to match, so I started creating foley with The Messenger: birds and streams, a textural background of nature sounds. That gave me something more imaginative to write over. Then for the ending, I made this pseudo-choir through overdubs, just stacking layers. It was spontaneous and really fun.

I think the coolest part about it was after I was done, I asked them, “Are you cool with all the foley? The birds, the insects, the water?” and they were like, “Yeah, do more if you want!” I was like, “Ok, well can you tell me some of the items that might be in the video?” So basically, I started creating wind, crickets, owls, frogs, a bog/marsh. Every sound in that piece was made with the Messenger. Even the pelican case opening, people walking on leaves… everything.“]

Photos + interview: @danz_cm
Read the whole thing online.

Recently caught up with musician, composer, producer, member of Survive and co-creator of the Stranger Things score, Michael Stein (@michaelstein).

Michael recently created the music for @moogsynthesizers’s Arrival of the Messenger, a video short showcasing the company’s new synth. He created everything from musical sequences, to birds, insects, and other synthesized foley textures using only the Moog Messenger.

We talk about his approach to creating the music, his first impressions of the Messenger, and what he’s working on now.

Here’s an excerpt on writing the music:

[“I’ve always loved Moog. We had a creative talk. They told me they’d be shooting the video soon and I’d have just a couple of days to write the music so they could play it on set. So I wouldn’t be scoring to picture, it was more like shaping a mood in advance. They wanted it to start ambiguously, not too dark or too ominous, real mysterious, then become frenetic and end on a revelatory, positive note - where everything comes to fruition. That’s tricky without a visual to anchor it.

At first, I didn’t really know what to do because it’s a monosynth, but then I started playing Rhodes through the audio in, finding chords to fit a mood. I figured out a chord progression, then came up with a sequence with the internal sequencer. It still felt empty without having visuals to match, so I started creating foley with The Messenger: birds and streams, a textural background of nature sounds. That gave me something more imaginative to write over. Then for the ending, I made this pseudo-choir through overdubs, just stacking layers. It was spontaneous and really fun.

I think the coolest part about it was after I was done, I asked them, “Are you cool with all the foley? The birds, the insects, the water?” and they were like, “Yeah, do more if you want!” I was like, “Ok, well can you tell me some of the items that might be in the video?” So basically, I started creating wind, crickets, owls, frogs, a bog/marsh. Every sound in that piece was made with the Messenger. Even the pelican case opening, people walking on leaves… everything.“]

Photos + interview: @danz_cm
Read the whole thing online.

Recently caught up with musician, composer, producer, member of Survive and co-creator of the Stranger Things score, Michael Stein (@michaelstein).

Michael recently created the music for @moogsynthesizers’s Arrival of the Messenger, a video short showcasing the company’s new synth. He created everything from musical sequences, to birds, insects, and other synthesized foley textures using only the Moog Messenger.

We talk about his approach to creating the music, his first impressions of the Messenger, and what he’s working on now.

Here’s an excerpt on writing the music:

[“I’ve always loved Moog. We had a creative talk. They told me they’d be shooting the video soon and I’d have just a couple of days to write the music so they could play it on set. So I wouldn’t be scoring to picture, it was more like shaping a mood in advance. They wanted it to start ambiguously, not too dark or too ominous, real mysterious, then become frenetic and end on a revelatory, positive note - where everything comes to fruition. That’s tricky without a visual to anchor it.

At first, I didn’t really know what to do because it’s a monosynth, but then I started playing Rhodes through the audio in, finding chords to fit a mood. I figured out a chord progression, then came up with a sequence with the internal sequencer. It still felt empty without having visuals to match, so I started creating foley with The Messenger: birds and streams, a textural background of nature sounds. That gave me something more imaginative to write over. Then for the ending, I made this pseudo-choir through overdubs, just stacking layers. It was spontaneous and really fun.

I think the coolest part about it was after I was done, I asked them, “Are you cool with all the foley? The birds, the insects, the water?” and they were like, “Yeah, do more if you want!” I was like, “Ok, well can you tell me some of the items that might be in the video?” So basically, I started creating wind, crickets, owls, frogs, a bog/marsh. Every sound in that piece was made with the Messenger. Even the pelican case opening, people walking on leaves… everything.“]

Photos + interview: @danz_cm
Read the whole thing online.

@moogsynthesizers

Jimmy looking surly 😡

Pretty nice combo

Studio hack @yamazakihome matchbox car parking garage for pedals. It’s not very strong but works for the lighter pedals

The Roland Station

Found another old picture of my bedroom at my parents house. The bed had to go

Reamping some stubborn synths that don’t want to sit in the mix 👍 great solution for this sound. Thanks to @spencerdcarson for the suggestion. Also meet Jimmy the dog

@ambarbecutie 📸 got a shot of my decorated Emmy taking pics for @synth_history. Go check out the interview to hear us talk about……. 🥁 🥁 🥁, yep of course, synthesizers

Feel’s good putting this @wesaudio Ngbus to work on new Survive mixes. This thing is 👌!