About My Music


Commercial Sound Production.

I work freelance for Tokyo based media agencies Ultrasupernew, and creative game agency Playbrain, as a composer, sound designer and audio consultant for web and TV based promotional materials ranging from 15 second TV spots, to promotional mobile games, to branded trailers running several minutes.

My commissioned work is tailor made to suit client and agency objectives, and I work very closely with their creative teams to realise sonic ideas and concepts and create soundtracks that enhance and complement the visual content and branding.

The list of client projects I’ve worked on with Ultrasupernew, include Red Bull, Google, Heineken, Asics, and Supercell , and I work closely with Playbrain.jp to develop and maintain the sonic identity of Riot Game’s “League of Legends Japan” live streams and promotional material.

Film sound production.

As of 2014 I started working closely with award winning filmmaker Igor Simic to produce, record, and design audio for his projects.

I work very closely with him to conceptualise and then realise his sonic vision. Then, through a process of vigorous back and forth dialogue, we flesh out and evolve ideas that absolutely underpin the artistic intent of his works.

My approach to Electronic Music

Since its inception, electronic music has completely blurred the line between music, sound design and collage.

From this perspective I am hesitant to call myself a musician, even though I can play the guitar.

Up until recently, recording live sounds and performances has played a minimal part in my output. The majority of my work is a hybrid of synthesis and sample based production, a steady balance of “from- the-ground-up” audio creation, to sonic collage based around the careful selection and manipulation of pre recorded sounds from curated sample libraries.

For me an electronic composer collecting samples and browsing plug-in presets is not unlike a collage artist  scouring images and texts from magazines and newspapers. Both rearrange and re-contextualise smaller parts into an other, larger whole, leaving some un-manipulated while rendering others unrecognisable.

Furthermore, my music making sensibilities are always driven by influences external to music, so I am not so much interested in musical influences as in artistic references, primarily from painting, architecture, and photography.

Thus, in principle, I have no problem using an existing synthesiser preset or un-manipulated sample in my production, if it suits the purpose or intent of the work. Using paint straight from the tube is just as valid as spending hours mixing the right hue. I have no interest in the snobbery of “pure” synthesis  wherein pre-sets and pre recorded samples are anathema, but that is not to say I don’t spend an enormous amount of time, energy and thought on shaping the sound of my projects.

My approach to any given project is subtractive in nature, sculptural, guided by the humorous observation that is is easy to carve a tiger from a block of marble; you simply chip away all the bits that don’t look like a tiger.

Techno and Club Music Production.

I mostly work with my own, non-commercial music in the sense of an artist sketching; meditations on technique, layout and composition, and I frequently rewrite or re-edit existing works. They constantly evolve. I like to think of it as tending to a garden – at last count I have over 300 pieces of music in some state of growth, and have been nurturing and pruning some tracks since I started making electronic music in 2001.

The purpose of dance music is to be used by a DJ as a tool to enhance the experience of dancing by affecting emotional and cerebral states on a club dance floor, so most of the tracks produced and released between 2006 and 2012 are specifically crafted for the architecture of certain club spaces that I performed in regularly in Tokyo. where possible the music is annotated with it’s accompanying architectural target.

My music is also a technical exploration of separating meaning from purpose. I make no attempt to explore any narrative within a track. Other than the musical story, the  interplay of say, two leading sounds or deliberate sonic juxtapositions, my music is a blank canvas that the listener can freely experience, and to which they can contribute their own narrative.

Most of my tracks have nonsensical titles to facilitate this.

Intrusion of a dominating sound or sounds upon my compositions is a central theme in many of my works.

This juxtaposition of carefully detailed music blighted by a disconnected and invasive force is endlessly fascinating, but unlike like throwing a bucket of paint at a finished painting, with modern technology I can hit the undo button and return everything to its pristine state, in endless variations.

I love working with this dynamic tension between control and breakdown, clarity and distortion, sanity and insanity, because I was born with congenital cataracts. My eyesight slowly worsened until, in my early thirties, it progressed to the point where I required corrective eye surgery. After the surgery my eyesight was instantly restored to normal – art imitates life.

Since I moved from Tokyo to Europe I have not pursued my performing career, I am not so interested anymore in the architecture, structure and  dynamic of the club scene, and how it affects my music making sensibilities.

It has been a very challenging transition artistically. An entire corpus of my work exists merely to facilitate my performances, and by removing the stage, I have inadvertently removed the context from my work.  It has been both terrifying and liberating.

I am currently pursuing other avenues of context for sound, like film and video art, and enjoying a new found freedom in approaches to composition, sound design and expression.

My Live Sets.

For any show where I am billed as shane berry live, I only play compositions I have created, or had have had a hand in creating – such as remixes of other artist’s works.

My live sets are an exhibition/performance of my “sketches” and often include pieces of music recorded only for that show and/or partially completed works; it is always evolving.

My live sets are carefully tailored, and can take me anything from one to two weeks to prepare.

I take looped sections of my own prerecorded tracks, samples of audio collected into themes from the internet/media and re-contextualise them in real time in direct relation to the audience’s response and the architectural space we are in.

I also jump around like a maniac, famously out of sync with the beat, and there is no known explanation for the phenomenon.

My DJ Sets (Studio Mix Series)

My Studio Mix Series is an exploration of the DJ as curator. It absolves me of any responsibility towards content creation and frees me to mix and match various styles and tracks made by other artists. It is a meditation on selection and montage. The pieces I select are, for the most part, treated like artworks hanging in a gallery space, and whenever possible I aim to give each track time to breathe and come forward, but also aim for a natural and seamless merging of sounds and rhythms so that the DJ set works as a whole piece in and of itself too.