I've been a musician since I was a child. Music runs in the family: my father was a self-taught multi-instrumentalist, and when I was five he sent me to music school, giving me an opportunity he never had. There was no shortage of musical instruments at home, so I tried guitar and then drums, finally finding my calling.
I played drums in cover bands and composed music at home. My first musical influences came from the British electro-pop scene of the 80s. Only later did I recognise acid jazz as one of the foundations of the way I write music. Funk, R&B, disco — anything driven by rhythm, even the voice.
Always curious, I began recording myself, first on tape and later with an Atari computer. Over the years, I moved away from the live scene and spent more and more time in my little studio, surrounded by instruments and technology.
That was when I began exploring the nuances of the voice, and my approach to writing music started to change: instead of searching for a voice to fit the music, I began exploring the music that could be built around that voice.
The Case Studies grew out of this exploration. They became a way to use a voice as the starting point for something new — sometimes far from where it all began.
In many ways, I still do what I did as a child: I listen, I experiment, I take things apart and put them back together to see what else they can become.
The instruments have changed.
The technology has changed.
Curiosity hasn't.
And when you love something so deeply, it's impossible to stop.