Composer and poet favouring endless hours of guitar playing and observation of human behaviour.
Loves progressive rock, rings, fountain pens, Martin Heidegger, maps and astronomical clocks, tea, autumn, evenings and nights, architecture, cosmology and astrophysics…
Plays guitar and piano (formerly). Considers his music a part of his own life story – both its narration and soundtrack. Influenced by rock and classical music alike. Mostly instrumental, but writes lyrics and free poetry too. Favourite themes: autumn, night, evening, winter, morning, stillness, silence… Isn't afraid of silence and slow tempi. Particularly seeks fragile harmonies close to the edge of consonance.
Paul Reed Smith SE 24 Custom
Epiphone Les Paul Standard
La Patrie Presentation
Vox Tonelab ST
Synthesis symbiosis of classical and rock music – including influences shaping rock music until its culmination in the form of 1970's progressive rock and its recent reorientation known as post-rock. Accordingly, I refer to my overall production genre as orchestral rock.
In the same way (not only) these approaches towards music live together in everyday life (at least in my case), I consider it possible to be able to move freely between the two poles (with a varying rate of mutual balance, on both the micro and macro scale) within one single artistic programme.
The simplest, most concise description of my musical intent would apparently be: the soundtrack of (real) life. Music to various life situations, experiences, states of mind. Principally and integrally connected to extra-musical content, or even – rising from it. Presenting and specifying these behind-the-music contents is then not only the lyrics' task, but more so of the music itself. I aim to refrain from richly figurative lyrics, but upon emptied music.
I aspire to create musical supply to the usually desperately silent reality of particular, magical life situations. To create an enrichment of subjective experience. Though I respect silence and bear it in mind even in my musical activity, I perceive many an experience was hugely amplified and made all the more unforgettable by the right music.
I acknowledge the inherent and unavoidable differences in every one listener's associations towards a particular musical piece, which indeed complicate a clear and precise delivery or description of feelings (or even: setting the same sensational configuration, from which the music arose), which my music could (should) carry. Even though constraining in my case, this matter of fact doesn't discourage me in any way from creating the above-mentioned kind of music. Though my ideal is to grasp and convey objectivity in music, I still count with a varying degree of mis-understanding. After all, it is all about the intensity of emotions rather than their precise articulation.
As I say, I am “walking the fine line between consonance and dissonance”. The first reason for this resolution (or rather inclination) is such that I am attracted to the extraordinarily distinctive quality of not-entirely-euphonious intervals, chords and other structures – as well as the wider possibilities working with these offers, compared to using only consonant relations. The process of composition itself is also as exciting as it is challenging: it promises an unceasing outweighing of two principles – just like in real life. And that is the second reason.