“If Pink Floyd was a metal band, that would be us.”

I grew up in a household that truly celebrated the importance of music. It wasn’t just about the songs; it was the album art, the music videos, the show posters, and the tour tees that made up the full experience. At an early age, my brothers and I performed as artists like Queen, Michael Jackson, and Waylon Jennings on a makeshift stage in our basement for friends and family. At eleven, I got my first electric guitar, an amp, and music lessons from an old dirt rocker at the local music store (thanks, Dad). From high school on, I played in a handful of bands, performing anywhere I could just to be on stage. And while all of that was fun and games, there was one group that had what it took to go all the way.

When Avex officially formed, we left behind our old bands and created what was essentially a local supergroup. From the beginning, it was magic in a bottle. Each of us brought a unique style and set of experiences, which helped us stand out in the crowded St. Louis music scene. We pushed each other creatively and worked tirelessly to bring our vision to life. The deeper we went, the stronger we became. It was a space where I could explore ideas freely, take creative risks, and refine both my design and musical skills.

This band was so much more than the music. It was an evolution in personal growth.

somnia deorum: In Latin, it means “the dreams of the gods” and it was the title of our first record, released on January 5, 2005. For the first two years, I primarily designed experimental gig posters for the band. But as the album took shape, the need for something more expansive emerged. The band was becoming a brand, and it was time to build a full visual world that reflected that evolution. We described our music at the time as “controlled chaos.” It was a collision of precision and unpredictability. All of the design work mirrored that contrast, blending grunge, cleanliness, and raw energy. It was all purposefully balanced, refined, and framed with intention.

We spent the next three years touring and promoting the album, all while preparing for the next. The meticulousness was just beginning.

The Architect: Released on August 30, 2008, this album was our masterpiece. My drive to make the artwork match the complexity of the music was fueled by my obsession with design, which pushed every aspect to the absolute extreme. At the time, I was deeply inspired by architecture, geometry, small type, and the balance of space and time. I wanted the visuals to feel rich and engaging. We transitioned from the grit and grime towards a more polished and elevated look, just like the music itself. New logo, new visual direction, same raw energy.

After the release of The Architect, we turned our hard work into a celebration at every show. As the crowds grew larger, so did the size of the venues. Eventually, we each pursued various side projects but came back together for the occasional pop-up show. Though the band is currently on hiatus, the music and those cherished days still live on within me.