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The musician career started relatively late, when I was 17 y.o., the same way it happened to many fellow bass players: I had to play bass in a band. Since I just moved to Rome, I spent more time practicing the instrument than anything else. Apparently, the Eternal City did not strike me as much as Florence did. In fact, I moved back to Florence when I had the chance, and entered in a Viking Metal band called Wolfingar. We had a good success, making it to the newspapers a couple of times and winning the public vote during the Maggio Off, an event held by the illustrious Maggio Musicale Fiorentino. Unfortunately, after some disagreement with other group members, me and the keyboardist left the band. From there on I focused my musical work mainly on personal projects: Maelstrom, Northern Mass, Ferdinando Valsecchi are the ones I’ve already published online, however there are more, waiting for me to polish them and get them out. Other projects have seen myself working as a composer, mainly for fixed media and video games. As a Sound Designer and Post-Production engineer I've started working fairly early on music related content. I've then focused on the sound and mixing for fixed media in my final undergraduate year at the University of Florence, writing 33000 words on the work of Christopher Nolan and how the sound was approached differently in two of his movies (Inception and The Dark Knight Returns). Right now I'm doing a Master in Sound Design at the University of Edinburgh, where I've had the chance to approach "sound" from several points of view. In Edinburgh, I've started collaborating with an independent production company called Outer Limits Prod., both as a Sound Designer for some of their work (alongside Dee O'Leary) and as a Mixing/Online engineer. I've also gained experience in many fields other than the fixed media, such as video games, programming audio (Max MSP) and sound design for small devices (i.e. a smartwatch).
Bookings: email@example.com This is the story of a man raised and nurtured in the beating heart of four-to-the-floor club music. A man who took a wander down some strange and twisted alleyways. A producer who, while exploring the outer edges of electro, hip-hop and breaks, never stopped listening to and mixing techno, finding in its linear progression a different kind of complexity to the SF-inspired, bass-driven experimentalism of his first clutch of releases. This is the story of Ghost by Nature, an alias of producer Gary Crowne, aka Black Lantern mainstay Krowne. In a way, Ghost by Nature is the first alias, the source code, the ghost in the machine that is Krowne himself. Growing up, his biggest love was techno music, but it wasn't until he became involved with regular Edinburgh techno shindig 4X4, as promoter and resident DJ, that he decided to finally release some techno. The new beats required a new alias, and so Ghost By Nature was born. Like his work as Krowne and as one half of Kromatic, liquid funk basslines drive the tracks. They are laced with with deep, percussive synth riffs, shimmering across driving, many-layered rhythms. It is futuristic, and futurist, like all good techno. With ghostly washes of acid house, Detroit techno and slick electro felt througout the tracks, this is an album as rooted in electronic music history as it is in science fiction's speculative approach. A new era for Krowne, and a new sound for Black Lantern. Ghost by name...
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