I’m a music producer and artist based in Switzerland, drawn to collaboration and the quiet pull of a song finding its shape. I approach music in a genrefluid way — letting each track lead me where it wants to go. This fluid approach has led me through a range of sounds and projects, each one teaching me something new. My goal is simple: to help you find your voice and shape your sound — so that your songs become the perfect vessel for expression, truth, and resonance.
Here are a couple of projects I have worked on or contributed to in the past.
Let me start with the project that pushed me furthest out of my comfort zone. The band Abinchova approached me to write keys and synth layers for their upcoming album. I ended up composing parts for all the songs and loved how the project completely shifted the way I think about writing music. Their sound is incredibly detailed, with stark contrasts between fast and slow sections — and the synths weren’t allowed to get in the way of any other instruments. My approach was to find small pockets where I could add subtle elements that wouldn’t lead but instead support the overall mood and atmosphere. I especially appreciated how their songs unfold in distinct chapters. This is one of the tracks I contributed to.
Feel free to contact me if you'd like to speak with the members of Abinchova.
Grenouille, one half of the duo Grenouille & Marmotte, approached me to produce a track for his submission to the Demotape Clinic in Zurich — a strategic move to generate buzz before unveiling his solo rap material, following years in a rock band. I was given full creative freedom on the production and chose to build a dystopian electronic soundscape that erupts into a whirlwind of emotion in the chorus.
The track, titled Luftstrom, explores themes of escape, with lyrical imagery of being carried by the wind and lifted toward the sky — even heaven. At its core, the song grapples with suicidal ideation as a metaphor for breaking free from emotional darkness. I leaned into that concept and imagined the moment just before a leap: the stillness, the inhale, the adrenaline rush — and then, the unexpected updraft carrying you skyward.
To reflect that tension, I designed lead synths that breathe and swell like wind — airy but present, almost gasping. The bass rumbles and shifts unpredictably, restless in the silence. The arrangement breathes in cycles, creating a sense of building pressure, sudden release, and eerie calm. I also layered in subtle ear candy to heighten the immersive, cinematic feel.
The song was nominated by the Demotape Clinic commitee and almost won the price for best song in the category Hip-Hop.
Feel free to contact me if you'd like to speak with Etienne (aka Grenouille).
When Rival Kings were preparing their album War, they reached out looking for someone to write and co-produce keys and synths. What started as a freelance collaboration quickly turned into something more — the creative chemistry was so strong that I was invited to join the band as a full member.
I worked on every track of the album and found the experience deeply rewarding. It was my first time working so closely within a large team, and it taught me how to navigate multiple perspectives while still maintaining my own artistic voice. Each sound I crafted had to serve the song and the shared vision — balancing personal intuition with collective input. That challenge sharpened my instincts as both a musician and a producer.
The album was a major success and even broke into the Swiss charts — a proud moment for all of us. Two songs stand out in particular for me. Bad is built on a bed of synth textures I designed to cut through the mix while reinforcing the song’s darker energy. On Envy the Dead, I composed the full instrumentation apart from the guitars and worked closely with the vocalist to shape the arrangement around the emotional arc of the lyrics. That process — creating a soundscape that holds space for vulnerability — was one of the most meaningful collaborations I’ve been part of. I later left the band to pursue other projects but still remain in contact with them.
Bad