Hello! This is my website. I write electronic music, do audio engineering and passionately tinker all kinds of random stuff. Do check out the chronological list of my works. I also have a Bandcamp page.
Not So In Brief
There really should be a easy copy-paste press kit kind of stuff here. Problem is, I’ve never been much of a fan of the industry-standard 3rd person press kit hyperbole. Sure, I know what it is for. Sure, I do understand I should have some. Sure, everyone of us “started playing piano at the age of three“. But it’s my website and it’s me writing all the stuff here, so yeah why not go all the way and against the norm. Album press kits aside, no point in getting creative with all the “he” shit here. Oh, I’m so special!
So yeah. I started making electronic music in 1992 and I have been on that path ever since. To date (at the beginning of 2015), I can roughly estimate having completed +650 songs with a ton of sketches floating around on various backup disks and in byte heaven (thank you, broken hard drives!). There’s simply too much works for me to bother counting the exact figure.
Along the years, I’ve (most importantly) had tons of fun, taken part in video game projects, engineered studio recording sessions with bands, played in bands with gigs both local and abroad, designed sound for theatrical plays, studied electronics in order to build, modify and repair synthesizers (and other bits of gear), made friends with many talented people, shot and edited music videos, done silly remixes for mainstream artists, run a record label, won numerous demoscene competitions and even gotten awarded for some of my works. It certainly hasn’t been smooth sailing all the way, but all this has felt like something I need to do. Compelled beyond reason.
Guess you could call me a self-disciplined DIY artist.
He started playing piano at the age of three and.. No, wait!
I did play keyboards as a kid, but never received any proper tutoring. It was all self-studies, doing things like trying to learn chords of a Laserdance song by ear or playing along Jean-Michel Jarre albums using a shitty Casio keyboard. Not that I could even afford either of the two, but was fortunate enough to have friends and neighbors who were kind enough to borrow me stuff. Those two artists are definitely where the core of my melodic influences stem from.
If I was to answer truthfully to “where it all began?”, I’d say it happened when I was nine years old: At that time I got selected to a music class, started practicing playing tuba (!) and some year-and-a-half later, became a member of the school big band. That’s when I picked up basic music theory and notation. It all started there somewhere, me and that pile of brass tube.
My gradual shift towards electronic music started some time after mid-80s, and the late 80s acid house boom sealed the deal. The more it sounded like a machine, the better. Too bad that back then I had only a C64 and could but cluelessly dream about getting “that machine sound”. That certainly didn’t stop me from doing things like trying to make mixtapes on a double cassette deck.
Some years later various sub-genres (umm, gabber anyone?) started popping up and by the time when the UK breakbeat / nu-rave scene started building momentum (Prodigy, anyone?), I just knew I had to start looking for whatever solution that would get me started with electronic music. All this “sound of the machines” was all I wanted, and I needed to have it on a shoe-string budget.
Touching the subject of budget, I never had the luxury of daddy’s wallet to back up my music hobbies. Before having a music computer of my own, I used to spend evenings at my friends’ place, hijacking their computers to practice using tracker software (Sorry guys!). Starting from the first computer I bought myself, the Amiga 500, I’ve had to work my ass off to earn money for the gear. And no, I’m not moping around, it’s just how things went down on my end.
Before the Demoscene
I certainly need to mention the demoscene too, but I’ll keep it short. If you have no clue what that is, why not check out this Wikipedia article.
I was aware of the existence of demoscene all the way from my C64 days, but I never gave it much thought until the dance/rave releases, like ‘State of the Art’, started appearing on Amiga. Around that time, I didn’t yet have a A/D-converter, and being able to dump any samples even remotely “rave-ish” from the computer memory (Action Replay ftw!) was a valuable source of sounds. I guess it’s safe to say that I still would’ve not given much though for the demoscene, had it not been for the samples. Knowing my position with the demoscene now, I almost feel shamed to admit the level of ignorance. But that’s how it was back then, I really just wanted that sound.
What really got me into doing proper demoscene releases was, when I got acquainted with Uncle-X / mfx. By that time, I had been uploading my works to domestic BBS’ for years and it turned out that Uncle-X and 1in10 were big fans of ‘LAiTE’, a KONE joke-group me and a few friends were working on between late 1994 and early 1995. It didn’t take too long, until I was recruited to mfx. Then Kewlers followed.
What else has happened since 1992 and my early days of demoscene activities is too a long story. Maybe I’ll write about some of it later on, maybe I don’t. Some of it is already around this website, and since you’re still reading I think you should see how deep the rabbit hole goes.
Thanks for reading through, please now go explore my music! I bet stuff exists where you can hear the enthusiasm of the little me behind that pile of brass (Hint: Mallet Hero Rework). Or perhaps check out my Bandcamp page and support me by buying all the releases I have there.
This website would’ve not been possible without my persistent efforts in making it happen. Getting stuff done took way longer, and might’ve taken even more so had I not had the works of people like Luke McDonald, The WordPress dev team and all the various people contributing to WP (in form of plugins and tutorials) to build on.
Putting the site together certainly would’ve taken a lot longer had my demoscene friends Truck, Gargaj, Gloom not been there for pointers. Not every bit of input these three provided got used in the end, but I’m certainly grateful for all of it. Thanks guys!