Thus far I have completed three solo albums, on which I pursue an experimental direction drawing inspiration from many different traditions of music. My main influence is the classic 1970s progressive rock sound, particularly from the Canterbury and R.I.O. scenes (bands such as National Health, Egg and Henry Cow), and the transatlantic jazz fusion scene from the same period (artists like Chick Corea and Brand X). Here, I infuse it with a dense synthesized texture and elements from post-war avant-garde classical music as well as (more recently) the many disciplines of electronic music that have blessed our culture since the 1990s. It is a celebration of the past and the present.

An album that points to the future, with synthesized sounds gradually displacing the (imitated) live instruments of yore and influences from contemporary electronic music making themselves known within the now-familiar avant-prog landscape, and to the past, with the sombre tone of many of the songs reflecting my mood at the time I wrote them, a state of mind I got out of my system by expressing it musically.
Still some beginner’s mistakes on this one (what was I thinking when I left the bass that loud) but this is what I would consider my first “post-juvenilia” release. It’s a wacky collection with mellow jazz and acoustic guitar improvs interchanged with roaring prog and exercises in atonality, but it still feels to me like a coherent whole.
The maligned debut of an artist not yet fully settled in her new workstation. Rushed performances, tinny arrangements and hardly any work having gone into proper mixing, and yet, I think the strength of some of the compositions still shines through: many of these ideas had been brewing inside my skull for a long time and it was a relief to finally be able to unleash them upon the world, so I still look back fondly upon this project.
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