the self-made drum set of my cousin, on the roof of his house, was the first initiative for free expression and noise.
wild at heart and uncompromising, we stuck at the teenage years on the late-night transmissions of the local and partly illegal radio.
punk, gothic punk, industrial and dark-wave, has deeply inflamed my desire to buy an electric guitar, though this has never happened.
conflicted, i left my family’s house after high school graduation and headed to my birthplace in zurich -, having no idea that the city was suffering an open drug scene plagued with criminality.
falling in love with a far-out rock guitarist and band leader who knew to move within parallel realities, between intellectualism and high voltage, i met the avant-gardism of the dada in cabaret voltaire, the up-close wildness of iggy pop on the stage, and a progressive underground electronic scene hidden from the outer world.
unexpected, the death of my best female friend, at the age of 19, hit the course of my destiny again -, as she was the second soulmate i was losing in two years.
accompanied by deep sadness, i decided to transfer myself to vienna for film studies, to get rid of my depression. yet, i only escaped to techno raves and suicide attempts that were failing due to higher synchronicity. when i finally decided to embrace my pain, i met with ruth white of ‘litanies of satan’ and delia derbyshire of ‘afterlife’ at the film archives.
this was the beginning of a long period of introspection that included eight-hours of daily practice of thai chi, gigong and kung fu, with master wang dong feng.
one day, exercising an ancient wu-tang meditation, i had an alpha state experience and felt sound as holographic telepath -, decoding light patterns, spiraling and flowing within the h.ear.t and b.rai.n of all living organisms.
re-awaken, i was thirsty to embrace life, all the colors and its frequencies, all the rhythms and music genres -, and it happened magically, no matter, if this was occurring during my studies, the film shootings or the screenings at the film festivals.
the sound brought me everywhere; to the rumba of cuba, the psychedelic rock of los angeles, the rap of brooklyn, bronx and sao paolo; to the electro beat of detroit and the experimental scene of nyc; to the jazz and afro-beat in paris.
in 2005, due to spiritual awakening and shamanic initiations, i quit my film career and disappeared inside the jungles of south america, where i lived several years among indigenous communities in nature.
i sat next to rivers, waterfall or by the rain and listened for vast stretches in white noise showers penetrating psychedelic microcosms of bird and insect, feeling captivated in healing powers of the human voice and warm gentle melodies from wooden instruments played for ceremonies.
departing from the remote amazonian villages, with the vision to introduce the oscillations of the crystal bowls for an audience in public workshops, i caught the attention of the press and was then invited by local radio and television broadcasts.
i was deeply honored by the feedback to be heard and be able to transmit the knowledge i gained by listening and observing nature and its ambient sound.
during this period, due to the intuitive compositions i was creating on software and publishing in social media, i met with peruvian experimental artists who invited me to participate and perform in urbane events.
being on the stage, i felt how unique and powerful is the relationship between the performer and the audience, how important the message being transmitted through sound.
a decade later, i returned to vienna willing to dedicate my entire being to sound and its experimentation.
i remembered the concept of the ‘holographic telepath’ and saw the oscillations, from the pure sine to the basic ‘brick’, its complex wave-shapes and distortion equal to that of the human frame itself; thus i wanted to experience how the outcome of the internal personal signals were inter-modulating with the incoming external signals and their resonance.