In 2016, at thirteen years old, Camden Tenney Clements became the oldest of four children suddenly living without his father. The incarceration left more than an absence; it created a psychological fracture that demanded an answer. Music became that answer. By 2018 he had moved beyond listening and writing into production, teaching himself the tools and processes of making records. What started as a private means of processing the damage evolved into serious creative work.

In 2021 he stepped away from the music industry to pursue other ventures under Syrynyti Limited Company, the parent company of Pangaea Entertainment and Syrynyti Motorsport. The break was deliberate, not a retreat. When he later returned to the question of music’s role inside institutions, it was with clearer purpose. He began examining the prison system itself—specifically how music reached, or failed to reach, the people inside it—and asked a practical question: how could the way music was offered and delivered be improved?

That inquiry took shape as the project We Are Human. Several years later, while researching programs designed to cultivate musical talent within prison systems, he discovered The Harmony Project operating through the Ohio Reformatory for Women. The discovery prompted him to make direct contact with inmates in order to understand, firsthand, how media was provided, limited, or controlled.

During that process he encountered the case of Mackenzie Shirilla, who had been imprisoned at eighteen and ranked among the youngest people convicted in the state of Ohio. Closer examination revealed serious problems in the handling of her case. What began as research into music access became a commitment to confront failures in the legal system Camden had been taught to trust—the same system charged with protecting constitutional rights.