Hearing sounds in the Forest of Fangorn
Dr Chelsea Bruno, known in the electronic music world as Eden Grey, is a Miami-born producer, researcher and organiser whose work fuses modular synthesis with community-building. With a PhD in music composition from Royal Holloway and a background spanning studio art and music technology, she’s carved a singular path — not just through her music, but through the spaces she creates for others. As the founder of CV FREQS, an event series and podcast devoted to Eurorack culture, Eden has built a network that stretches from Berlin to Portland, connecting artists, manufacturers and audiences around a shared fascination with sound. Her YouTube channel, magazine writing and community workshops are all part of the same mission: demystifying synthesis and opening up the circuit for everyone. We caught up with Eden to talk about modular meets, industry roadblocks, and what it means to keep going — as an artist, a parent and a woman in electronic music.
You juggle multiple roles: producing music, organising CV FREQS, running a YouTube channel and Patreon. How do you manage your energy and stay creative across so many areas? Are there strategies you rely on to stay focused?
My energy fluctuates throughout the day, which I believe is common for many people. Switching between different projects helps. Organising CV FREQS events is always exciting — it gives me the chance to experience new sounds and talk about patching, modules and music. Modular meets are some of my favourite days. I started CV FREQS during a six-week internship with 4MS Company in Portland, Oregon, where I was learning about Eurorack. I held events weekly to learn from that skilled community. The early days were enlightening — everyone shared their expertise and live music so freely. Inspired by their generosity, I now aim to support creativity in sound design and modular synthesis, promoting improvisation and genre-free experimentation. Before the pandemic, I was hesitant to appear in videos. But isolation pushed me to become more active online, launching a YouTube channel and releasing my music independently. I thrive on collaboration and get inspired when working with others, whether that’s through art or at shows and jams. That diversity fuels my creativity. This was my seventh year at Superbooth in Berlin with the CV FREQS podcast, where I interview Eurorack manufacturers and create video content for the community. It’s a way to keep us connected through our shared passion for music technology.
Your work often challenges conventions in both music and modular synthesis. How has this shaped your composition style and the way you organise events? What impact do you hope this has on audiences and the wider scene?
We all bring different methods to music technology, and it offers endless tools and possibilities, which I find fascinating. I love playing analogue and digital keyboards like the Moog or a USB/MIDI controller with plugins, but they’re not always central to my work. What draws me in is the unpredictability of Eurorack modules — the surprises that come from patching. CV FREQS events are hard to describe — everyone plays at once, which creates a blend of harmony and cacophony. But that blend leads to rich conversations about technique and the shared joy of sonic chaos. Everyone uses headphones, so it feels like a personal, shifting installation. It reminds me of the French jazz term bœuf, where musicians jam without structure, just sharing in the moment. It’s got the same spirit as a rock ‘n’ roll jam — lively, messy and collaborative.
Gender is still a major factor in the electronic music industry. How have your experiences informed the inclusive values of CV FREQS? What still needs to change?
As a single mum, some days are almost impossible — but I keep going, hoping the sun shines for everyone, just like my son shines for me. He’s already picked up on some of my musical tendencies. I’m grateful to the women who stood up for equal rights during the women’s liberation movement. I’m excited to be part of Mark Jenkins’ project “Les Femmes Électroniques” starting in June 2025. He’s brought together artists from the USA, France, Germany, Argentina, Russia, Poland, Ukraine and Japan to collaborate on tracks that shift between experimental and electronic pop. I remember meeting Sarah Sommers back in 2015, when she organised synth meets at the Red Dog Music pop-up shop on Denmark Street in London. That community energy was inspiring. I discovered Eurorack near the end of my Master’s degree and it changed everything. Without the internship at 4MS, my life would be totally different. That experience, and the welcoming nature of the Portland scene, set the tone for CV FREQS. From the beginning, it’s been about inclusion and openness to all ideas. I’ve contributed reviews and articles to Das Synthesizer Magazin and Beat.de for years, which has been deeply fulfilling — especially after completing my PhD five years ago. It’s taken time to find my place as a woman in the industry, but Germany has been forward-thinking and has offered space for my work. I’m not a ‘spring chicken’ anymore, and navigating life’s changes while raising a child has been tough. But I’ve stuck with it.
How have personal challenges influenced your creativity? Can you speak about how hardship shapes your music and your work with CV FREQS?
We can’t control the world around us, and sometimes we make the best decisions we can, even when they don’t feel right. I love the saying “nobody is perfect” — it reminds us that everyone has a story you might not see. My music is where I tell mine. It’s shaped by the tools I use and the experiences I’ve lived. Rather than dwelling on hardship, I focus on keeping my creativity alive. Life is music, and the music never stops. It may not be what I originally imagined — like writing orchestral scores or film music inspired by Hans Zimmer, Trent Reznor or Thom Yorke — but it’s still mine. The music industry can be exploitative. Travelling alone for shows isn’t always safe, but I won’t let fear stop me. I’ve learned to make better choices and to surround myself with people who appreciate my work — even if discovery algorithms bury it. I still dream of scoring a film. I give my music freely because it’s my therapy — giving is receiving. I’ve faced setbacks, but I’m determined. I remember when some Year 7 students I was teaching said one of my tracks reminded them of The Weeknd — I wasn’t expecting that, but it made me smile. Live shows and album releases give my work a life of its own. I’m grateful to EC Underground for releasing my music properly, first with the cassette “Int-Interred” in 2022 and again with the upcoming CD “In the Forest of Fangorn” this August. My earlier work with FEM Records felt like joining Charlie’s Angels — John, who ran the label, believed in us. I released three CDs and appeared on two compilations. It’s been quite the ride.