She was a competitive pianist until she went to music school at The University of Western Ontario, where she studied piano, composition, and musicology with Gwen Beamish, Omar Daniel, David Myska, and Jay Hodgson.
The virtual chorales of A 480 comprise compositions of actual recorded singers that have been unpersonally sourced, downloaded, then disembodied, disfigured, and displaced over forty times, then arranged into temporally affected four-part fugues.
Slight temporal variations fade in and out over time in constant flux, occasionally pausing for immersion in a pulse chamber before it moves onto another.
The length of the looped samples are adjusted one at a time— lengthened and shortened, and at times switched out altogether, to reveal how seemingly minute temporal variations have impactful effects on overarching rhythm, melody, and energy.
[8] Compared to its experimentalist contemporaries, Aftertouches approaches experimentalism with a more symphonic calculation and leaning towards composition, weaving both physical and technological realms to creates a series of celestial modern classical miniatures.
The Wire describes Aftertouches as "...the textless, fleshless voice-keyboard, the lingering foggy sublime of CPU-washed tone granules, the modular serialism of object oriented processes.
The various parts are often starkly separated in colour and harmony, but the overall shape flows on smoothly either still learning from and resolving its experiences, or in thrall to an aesthetic that's beyond the horizon" (The Wire, issue 376, June 2015).
"[9] Aftertouches was named one of the best 25 records of the first half of 2015 by Adhoc, and was called "a true masterwork from a still young artist" by Bobby Power in Decoder.