When I work on music, usually the first thing I’m thinking about on my own work is “what is the best method to start here?” or “what sound might inspire me to build from nothing?”

When I work with others, I’m usually trying to gauge where they are at in their head and figure out how to translate that to the sound and capture it before it is lost.

When I work with groups, I’m trying to get all the details needed to see where the strong and weak points are, and devise a plan to help everyone achieve the end goal without making too many sacrifices on their end. Different personalities or energies, but all share in some common things that are worth pushing the most. The weaker things that they don’t share in, find a way to let these things bleed into the work. It is not an imperfection of the artist nor is it of the person bearing it, it is rather a part of the identity that makes things that much more unique.

However, all of this is just simply painting with basic colors in a text format. I will admit, I am not the best at writing about myself in a context such as this, but everything I’ve said to this point here is rather accurate with where we are in 2026.

I’m always sitting around and studying new and old tools in the digital realm, somehow. I’m studying old techniques. I’m studying new approaches. I’m finding ways to branch out and blend things that interest me significantly.

I am not a master of the tools I have at hand. I am not a virtuoso in any capacity. I have arrived to this point in my life because for roughly 95% of it, I wanted to teach myself how to do things, so I could make the sounds I wanted to hear back in the late 90’s and early 2000’s. But as with all musicianship, you discover new musicians or bands, they inspire you and influence you, and you have to adapt mentally to the new information at hand.

All of this is why after 30 years, this is the “me” that you get. I see myself as an artist, but I’m nowhere near perfect. I’m also far from “catchy top 40 radio" friendly.

I grew up on Industrial Rock and Industrial Metal. I have traversed all these years since through Death Metal, Progressive Rock, Progressive Metal, Synthwave, Synth Pop, Symphonic Metal, Ambient, Melodic Death Metal, Aggrotech, Trance… there’s so much I’ve absorbed, and I try to put a good amount of this into my own work. Studying a lot of this has helped understand a lot of my friends and clients along the way.

So, I do vocals, 7-string guitar, 5-string bass, 61 and 88 key based piano instruments or synthesizers, drum machines and programming (some live drums to an extent), sound design of sorts, orchestral compositions of sorts. I’m slowly learning Eurorack modular synthesis and consistently studying 80s and 90s era industrial. All while working through some type of tinnitus I got from a Rivers of Nihil show in 2019.

If you are curious about my influences, whether they still apply or not or if they are considered safe or controversial, here’s a ist for you:
Nine Inch Nails, Korn, Slipknot, Marilyn Manson, John 5, Rob Zombie / White Zombie, Powerman 5000, Dethklok, Strapping Young Lad / Devin Townsend, Nobuo Uematsu, Koji Kondo, Job For A Cowboy, Gojira, Garbage, Ministry, Spiritbox, Arch Enemy, Power Glove, Perturbator, Carpenter Brut, John Carpenter, KMFDM, Static-X, Rammstein, Prodigy, Orgy, Fear Factory, Gravity Kills, Deadsy, Coal Chamber, Filter, Meshuggah, HORSE the Band, Periphery, The Browning, Scandroid…

I hope this paints the picture here at this point for now.

Solo Projects:
The Psychosphere (1997 - 2001)
X-13 (2002 - 2004)
Arcane Addiction (2004 - 2011)
Brandon Sills Project (2011 - 2022)
Brandon Sills (2022 - Present)

Howdy. I am Brandon Sills.

I’m a musician, a Producer, an Audio Engineer, a Consultant of sorts… basically, you can name it, chances are it’s relatively natural for me.

I was born and raised in the Portland, Oregon area, and I am still based here at this time.

I began pursuing music in July 1997, creating random things from existing software on an old Packard Bell tower with a Pentium II processor. DJ and Remixing software mainly. Then I got into Goldwave and Sound Forge for audio manipulations and generation. By 1999, I started learning Cakewalk as my first DAW, while also learning guitar, bass, keys and drum programming. I had picked up two Crate combo amps, a Digitech RP200 and BP200, an Alesis SR-16, and a Radio Shack MIDI keyboard that required 5-pin to serial or printer port. It worked, and I learned a lot along the way.

Fast forward to today, May/June 2026. I have taught myself enough how to translate a 7-string guitar in Drop A tuning over to a Piano, including Piano Roll. I have gotten a much better grasp with drum programming and how to make a machine sound a little more lively. I have swapped ecosystems (Windows 95 when I started out, now on macOS Sequoia).

I have been a part of a handful of bands, including Amerakin Overdose from 2014-2016 and filling in on some tour dates in 2017 to help out. I have worked with Ola Englund, a notorious and glorious YouTuber and owner of Solar Guitars. I have helped consult a handful of other musicians about their projects and how to move forward with them.

Most importantly now, I am currently pursuing my certification or my associates of applied science at Clackamas Community College for Music Technology, maybe Music Performance and Technology. Not sure the end game yet, but it is happening.

Past Bands:
Destination : Oblivion (2009 - 2011)
Ion Storm (2012, 2013)
Amerakin Overdose (2014-2015, 2016)
At THe Seams (2019)

Past Studio Projects:
Child (2004)
The Preserved (2012 - 2015)