Interviews

“… finding sounds is like looking through a jumble sale and finding something that really catches your senses until you become slightly obsessed with it…”

“… I often start a composition by creating a theme with an acoustic-digital filtered sound. Over this, I often try to integrate pure synthetic sounds from a synthesizer…”

“… all the great recordings were made with what people had available to them at the time, and Picasso already knew: when I haven’t got any blue, I use red…”

“… the stigma of a performance, especially from on-stage or even from the educational theatre side, has this theme that I can’t relate to…”

“… I put a lot of focus into the sound design, atmospheric composition, and structure, […] it is the one formula that I use to make my sound audible…”

“My compositions are bound by the parameters of where they were created. And so to prevent my creativity from stagnating, I need to change those parameters every now and then…”

“…I find it very useful to invite people to the studio, to listen ‘through their ears’… even without saying a word, you can tell if a piece works or not just by listening together with someone…”

“… I don’t feel too bothered about complexity, context, relevance, or reinventing the wheel in music…”

“… my whole aim is to try and work as quickly as I can before my critical brain can catch up and force me to overanalyze…”