LPs & EPs
Themes for Empty Corridors (2024)
Compilation of sci-fi-inspired drone and ambient music written between 2019 and 2023.
The tracks for this release were composed during a period when I was living in two of Germany’s largest cities. A central idea explored in this compilation is how certain mechanisms and structures within cities have simultaneously emerged from human needs while often failing to accommodate them or even actively making it impossible for those needs to be fulfilled. The music reflects the contrasting aspects of living in such an environment: from hostile architecture and the disorientation caused by a failing sense for scale, to, on the more positive side, the sense of wonder that arises from the vast interconnectedness of urban spaces, and the beauty and calm that can still be found within them.
Released digitally and as a small run of home-duplicated pink tapes in May 2024.
Singles
w45P (2025)
Fast and glitchy drum ’n’ bass track released digitally in May 2025 .
This was the first time I worked with samples that I hadn’t recorded myself specifically for the track. The rhythmic samples are, of course, variations of famous breakbeat loops, while the melodic and harmonic material was mostly arranged using samples from old ’90s techno and house production CDs.
I’ve always enjoyed drum ’n’ bass and jungle—especially when it’s either very liquid, like the music of LTJ Bukem, or noisy and rhythmically complex, like the work of Venetian Snares and similar artists. I was originally inspired to do something in this style myself after hearing Level Select by the artist Pizza Hotline. The track turned out a lot more complex and less retro-influenced than expected.
I also made a music video from underwater stock-footage and effect overlays to accompany the track.
spectre/Void (2021)
Split single with noise artist tristesze. My track void from this release also appears on the compilation Themes for Empty Corridors.
For this track, I recorded several no-input mixing jams using an old four-track mixer and some inexpensive, partially modded effect pedals. From this material the piece was constructed by isolating and layering small segments of the recordings.
4-way split with tristesze, ...qui dure and abstractionism (2018)
Four-way split between the artists tristesze, abstractionism, …qui dure, and myself. Each artist contributed two tracks for the release. Beyond that, there were no creative restrictions, resulting in a wild mix of subgenres somewhere between noise, industrial, ambient, field recordings, and other experimental sounds.
I remember very little about the process of making my tracks for this release. What I do recall is that my first track, „monads,“ heavily features samples from jam sessions using piezo mics, metal casings, cheap distortions, and screaming into a can full of scrap metal.
This release also marked the beginning of a very short-lived series of split releases I put out through my now defunct experimental music label, Mossrite.
Videos
W45P (2025)
Video created for the drum ’n’ bass single by the same name.
The video was made entirely from stock footage. I wanted to give it an aquatic theme and focused on matching the rhythmic changes in the music as closely as possible. There was a minor issue during export in Kdenlive (the video software used), which slightly shifted the audio and video compared to the preview. As a result, some cuts don’t align as precisely as I’d have liked—but overall, I think the video matches the initial idea quite nicely.
Fuchsen - Ekstase (2024)
Video originally uploaded to Instagram.
In 2024 a friend approached me for a collaboration on one of the tracks of the new album of his post-rock/black-metal project Fuchsen. The track „ekstase“ needed some additional keys and guitar parts, so I wrote and recorded some parts that ended up on the final album. After the release I recorded a small play-through for my part of the track.
Abhorrent Augementation (2023)
Video originally uploaded to Instagram as a one-off.
This track was written in early 2022. While not too impressive, compared to some of the more technical genres of metal out there, this was really difficult to play for me back then. I think the recording reflects that fact even though the takes are heavily authored. The lyrics are alien/sci-fi themed. This was done to avoid the stereotypical gore and guts lyrics often encountered in e.g. death metal. I also wanted to use a sci-fi theme because the album Planetary Duality by The Faceless which also is sci-fi themed is probably one of my favourite death-metal albums. The vocals are done by me and the current singer of my old band I Saw Daylight. It was meant to be fun project between the two of us. The video was an afterthought and is just me doing a fake-playthrough of the two guitar parts.
Nightcrawler (2022)
Video originally uploaded to Instagram as a one-off experiment.
The video was made from stock footage and recorded live-performances on a Launchpad. The track consists of a backing track and two live performances for the breaks and the lead. This track was the second and last experiment in making a breakbeat/breakcore live setup work. While I think this is much better than the first attempt it still was very unintuitive to play because you had to push buttons slightly before the beat for the setup to register the hit correctly. This ultimatively made playing the beats fun but hard to control precisely. The theme of the video and the title of the track are clearly inspired by the movie Nightcrawler, which I had watched very recently before working on this track.
Carnage (2021)
Video originally uploaded to Instagram as a one-off track.
The track itself features keys, fretless bass, tenor saxophone and some drone and light percussion accompaniment. I remember writing and recording the music only a few days after i started learning to play tenor saxophone. The video was recorded in the shared kitchen of my flat in Munich. The music is clearly inspired by the bands like Bohren und der Club of Gore, Dale Cooper Quartet and music from old detective movies. The title has no deeper meaning that I would be able to recall. I remember having made a list of titles that evoked the film noir/black and white detective movie aesthetic and randomly picked this one.
Lo-Fi Guitar Jams (2021)
Video series originally uploaded to Instagram.
Back in 2021 I was quite busy working on my doctorate and only found little time for being creative. This lead to me doing this mini-series of videos. The goal was to have each video finished in one afternoon including writing the music, recording, video editing, etc. The videos were a split-screen view of me playing guitar, bass and keys over some drum loop, mostly using the guitar as the lead instrument. The music was inspired by the back then recent surge of lo-fi hip hop beats. I made a total of five videos. The last one also features my back then roommate on Flügelhorn.
Ambient Drone Jams (2020)
Video series recorded while visiting the artist Anderland in Berlin in 2020.
The idea was to use a small, battery-powered setup and visit a few nice spots to record some ambient tracks. The pieces were written on the spot and mostly recorded in just a few takes (mistakes and all). It was more about the process and spending time together than creating something highly polished.
Alongside the electronic setup, I brought my nylon-string acoustic guitar for a few tracks. Since the guitar has no built-in pickup, I just taped some really cheap piezo to the body. This worked surprisingly well, but also meant that I had to move as little as possible during the recordings, due to the extremely high sensitivity of the pickup. One track features two guitars, and for another, we used an out-of-tune piano that was sitting in front of a rehearsal space.
ALWAYSREMEMBERTHESUNNYDAYS (2019)
Video created entirely using the Processing programming language, accompanied by music made almost exclusively using an old Yamaha keyboard.
After reading Grafton Tanner’s book Babbling Corpse: Vaporwave and the Commodification of Ghosts, I became very interested in the vaporwave aesthetic and its more unsettling qualities. At the time, I was working extensively with a programming language called Processing and began creating the main parts of the video before even writing any music. Once a significant portion of the video was finished, I quickly recorded something just to have some music to go with it and then completed the project.
I remember finishing the whole thing over the course of a few evenings. I still like how it turned out. That said, while I think Processing is great for certain things, I absolutely cannot recommend doing a 3D project of this scale in a fully code-based graphics environment like Processing—especially when it needs to be synced to audio. I guess, doing it in something like Blender would have been far less tedious.
Other
Band: Ast (2013-2018)
Ast was/is a black metal project that was active from 2013 to 2018 and is currently dormant.
While I only wrote material for the initial self-titled demo in 2013, I was involved as a guitarist and permanent band member until the project went inactive around 2018. There are seven main releases, including tape and vinyl records.
The style can be described as modern black metal, incorporating elements of doom, sludge, and hardcore. Additionally, the songs feature some less common aspects, such as odd-meter writing influenced by genres like math-core, as well as noise and drone passages.
Band: GRAM (2017)
Gram was a hardcore punk band in which I played bass for approximately one year.
Although my time in the band was relatively short, we toured extensively during that period and also wrote songs for the EP Alles fällt (Everything Falls), which was recorded live in a small studio/rehearsal space in Austria. This was probably the most punk/D.I.Y. band I’ve ever been part of. Playing squats all over (and beyond) Europe and driving around in a broken red van. The shows were often absolute madness, and I still look back on many of those experiences very fondly.
Gram had five main releases, including vinyl and tape, and officially split up around 2023–2024.
Band: I saw daylight (2013-2016)
I Saw Daylight is a hardcore band that has been active since around 2011 and continues to exist today.
I was a member for three releases, playing guitar and bass, and also contributing to the songwriting. The band currently has six main releases, including tapes and vinyl records.
Over the years, their style has evolved from mid-tempo modern/melodic hardcore to a more emo-core influenced sound.