I’m a model from the early 1970s.
I got into music relatively late and, in the early 1990s, toured as a drummer with Salmonella Q, Yelow Snow, and other smaller music projects, including TV and radio appearances.
Around 2005, my music career came to a halt for a few years.
After moving to the Bernese Jura in 2013, opportunities to make music gradually opened up again. The Bernese Jura is very remote and idyllic, but finding musicians willing to join a project was simply almost impossible, which encouraged me—and sometimes even forced me—to play all the instruments myself for my compositions.
Around 2024, the project took on a more serious nature, and I invested in a music studio to ensure the desired quality of the recordings. Today, in 2026, I am able to accompany, record, and produce my own and others’ projects. The studio is also available for rent for smaller productions.
Currently, with the addition of two singers (Simone van Rijn and Lilly Lou), we’re working on new songs. With today’s technology, it’s relatively easy to generate a perfectly sounding voice or tweak the song to the beat until it’s perfect. I myself clearly distance myself from these practices and want to preserve the liveliness and depth of the songs, which ultimately creates a sense of uniqueness.
What you have to do, how it has to sound, how long the song has to be to be successful… all of that bores me to death, and I almost never compromise; I simply have no interest in chasing after the monetary mainstream and want to make the music that’s emerging right now. The moment, an experience, emotional outbursts—whether up or down—are the trigger and the strong foundation for a genuine, authentic song; whether people like it or not is secondary to me. Let others produce songs based on formulas for success; there are enough of those already.
