I’m originally from a very small town in the south of Finland called Hanko. I started playing the piano at the age of five. Later on, I took drum lessons.

I picked up composing and music production in my early teens when I produced my first electronic and sample-based pieces. This was all part of a bigger picture: an active computer subculture called the Demoscene.

This hobby gave an understanding how to sync audio and visual elements together, but also working in a team of creative minds. I then started making songs and got involved in bands.

I practically lived at our rehearsal space my high school years. Later on, moving to study Musicology at the University of Turku led me to even more involvement in bands. I did some touring in several festivals and events as a keyboard player and a singer. We played mostly lot of African-American music.

In the middle of my studies, I got an internship at the Finnish Broadcasting Company in Helsinki to work with radio music in a radio channel called YleX. The six month period led me to a summer job as a music editor for channels YleX and YleQ. I was later on hired as a journalist and a community manager by the same company for a TV channel called Yle Extra.

From Yle Extra I moved to an online music site called yle.fi/pop to work as a music journalist. From there I moved on to a producer role and had the luxury of putting my effort into several experimental media products.

These included a documentary about the Finnish Demoscene, which I was awarded with a program scholarship. From there on, I worked as a Development Producer. My role consisted of implementing social media elements into The Finnish Broadcasters media products and units through out the organisation.

I then got an offer from Nokia to work as a community manager for the Finnish market. This was at the time when Nokia was releasing it’s last phone models called Lumia. As my career at the fading cellphone giant melted pretty rapidly, I was then hired by one of the biggest media companies in Northern Europe called Sanoma. There I worked as a producer and my work mainly consisted of marketing.

I finished my studies at the University and graduated in 2013 as a Master of Musicology. At the same time, Sanoma’s businesses weren’t doing too well and I finally got the chance to start working as an independent entrepreneur. I wanted to do this to have more control over my time and especially to concentrate more on making music, which had been swallowed up by my variable day jobs.

From there on I worked as a consultant for large and middle-sized company in Finland. My main focus was on social media, which had become my main professional concentration. Starting a consulting company led me to spend even less time developing myself as a musician.


In 2015 my wife had a chance to move to Bangkok Thailand for work. We decided to take that option and from there on, my business patterns kind of changed. For the following years I worked pretty much on and off as a telecommuting consultant for my old clients back in Europe. It didn’t take me very long to realise it was a bit too complicated compared to the economic or mental compensation it gave me. So I decided I will focus mainly on music.

I started building my own studio and learning mixing, producing, mastering, recording, playing, composing and everything that would make me a better musician. I can easily say it took me several years to get to the point where I’m satisfied enough to sell my products. Most of all, what developed during those years were my ears and processes of turning ideas into musical notes and later on into songs.

In 2017 I got a unique chance to produce a soundtrack for a 17 episode TV series called Big in Finland (Directed by Mika Niva) which aired in Yle Areena and YLE TV2 at the beginning of 2018. From there on, I got another gig to work with a documentary film about Syrian LGTB refugees living in Finland called Baher of Finland (Directed by Pia Asikainen). I am currently working on several yet unannounced projects which are to be aired in the near future.


The saying “Grand but faded” really describes my musical approach to any type of genre I’m working on. This applies to my tonal esthetics as well as sounds: I’m constantly looking for more breathing, warm and inconsistent organic sounds. I spend a lot of time making digital samples sound like real instruments played in real spaces.

Going through several musical phases in my life from progressive rock to electronic ambient, my style and approach to music are now very close to the so-called neoclassical genre. My greatest influences come from modern composers like Ólafur Arnalds, Jóhann Jóhannsson, Thomas Newman, Dan Romer and many others.

I love exploring music and mostly for me, it is already done in the past or outside western music tradition.