Growing up in Hackney, North London during the 70s and 80s, I couldn’t have been more culturally nourished. Even though my tastes were leaning towards Soul and Disco, there was also a lot of exposure to Reggae and Dub. Whilst punk-rock pushed the moralistic boundaries on TV, me and my friends were compiling mix-tapes to pass around. Listening to my sister’s record collection and John Peel on the radio during this period, I truly embraced a love of music.

A few years later, the angst of being a teenager kicked in and we all looked to music for that sense of individuality. I jumped off the happy Soul Train and became heavily influenced by the New Wave movement, particularly early works by The Human League, Gary Numan and Kraftwerk. I was completely mesmerized by the sound of synthesizers which at the time, were rarely accessible unless you were already in an established band, or had stacks of money. Opportunity came after I begged the music teacher at school to allow me access to an EMS Synthi AKS, which opened up my world.

Throughout the following decades, my enthusiastic musical taste became increasingly refined, appreciating everything from minimalist classical scores to the raw, gritty analog sounds produced by artists such as Trent Reznor, then shifting all the way from experimental tones by musicians such as Sawko to dark ambient drones by Kammarheit.

My  compositions under the guise of biospherix are a vague extension of my inner psyche. They convey audio narratives about human fragility, solitude and the world around us, like a third person looking outwards, many times to a dark, dystopian landscape.