About

As i think language is fully unequipped to express anything about more abstract music, and unnecessary if you ask me, i haven’t made this kind of biography.

Whenever someone’s going into abstract descriptions about something that is already abstract and would need a language of its own- and furthermore deals with a sensory experience, personal preferences and references- i came to the conclusion that this, to me, is a useless undertaking as communication about even the most tangible of things is already such a fail-fest.

Other than naming the sound sources or way of processing the material i see no surplus value to describe atmospheres and general objectives of artists, if music needs a purpose even at all. Maybe it does, for which scenario I will then have to try to find a compelling answer. In any case, I don't want to 'interrogate' the listener (waterboarded by music. O.) or spoonfeed an emotional state or anything like that.              

I have looked at dozens of biographies and the results were interesting: the overall vocabulary used was surprisingly limited. Only a small subset of key-words is needed to conjure up a bio that sounds bonafide. In general, I don’t trust anybody that happens to speak the exact same language as the topic dictates, whether it's people talking about their philosophy, art, religion, or morality issues. Jargon; whatever happened to all those drops in the ocean? Snowflakes. If the Fanta's for us and the Henny's for the sluts, academic drivel is for serious musicians.

People seem very adamant about stressing their uniqueness but then do it in such a Wallmart kind of way that it immediately makes them anything but unique; they all be like crossing boundaries, straddling intersections, hybridizing, filling niche after niche, operating in the cracks, - man it must be getting crowded in those cracks with everybody in there. Maybe the crack is the new surface, and the old surfaces are shrinking to the size of cracks, as the cracks are growing exponentionally.

Besides that, biographies seem to require a feat of arms which for some reason I despise. I know it helps with a positive imagery about me/ this music, although the music stays the same.  If there were no bio’s and you were just left to your own devices and ears while trolling the internet or trying to decide if you want to go hear me play or collaborate or buy an album or if you should have any respect for me altogether; how bad would that be ?

So, for those that are interested in a list of all the awesome people i have worked with, beautiful or shitty stages, festivals, clubs and squats i have played in, at, on, commissions i received, reviews, residencies,  recordings, scholarships and grants (i'm legit af); you can write me with a request for such a list but it’s really more fun if you make up one yourself. I would just make one up too anyways.

I'm a musician /composer / producer, currently based in Brooklyn. Or Eindhoven really. Amsterdam. I make music using max msp. I created a software instrument with which i can mangle patterns and time, #vinex-trap, with special interest in algorithms.

I can be heard live; solo project under the Sannety monniker, duo project SpermChurch with Trevor Dunn, and more to come soon!