I like to create things. Books for instance, but also beer (www.keun.be) and of course: music. And I like to share my passion with others. That's why I teach (at university colleges in Ghent and Brussels), started my own online academy (www.sonicsphereacademy.com) and do production, mixing and mastering work for other artists.

I started making music in the early nineties. First as guitar player in several Ghent-based projects (with musicians like Peter Vermeersch, Johan De Smet and Vincent Dhont) and recording my first demo's on a Tascam 4-track recorder. Briskey became my musical alter ego, and the first release was the maxi 'Lovelier Without Make-Up' in 2000. Full albums followed in 2003 (Cucumber Lodge) and 2006 (Scarlett Roadhouse). I put together a live band with splendid musicians like Bart Maris, Isolde Lasoen, Nicolas Roseeuw, Dorona Alberti,… We played a lot of gigs at home and abroad. Playing live had an important influence on the next records. The music became less loungy and more organic. Eventually I even put together a 14-piece band: the Briskey Big Band.

before-during-after (2009) was a turning point. Although it was still released under the moniker of Briskey, it was totally different. No more frivolous latin-beats or old jazz samples. The sound became darker, slower, more melancholic and cinematic. before-during-after was like a soundtrack for a movie that has yet to be released.    

And then things changed. I moved from the city to the countryside, finished my PhD and started a brewery. So much to do, so little time. The lockdown put a hold on a lot of things, but it gave me time. It was the perfect moment for reflection and looking at things from a new perspective. I decided to upgrade my home studio and do what I like best: making music.

Literally locking myself up in my home studio, I discovered the endless possibilities of musical software and virtual instruments. I decided I would do everything myself. Making a record from a to z: from composing to mastering. Heis was the first album that came into life this way, and was the first in my Nordic Noir trilogy. Hemma is the second en Hode the last one.

All music is composed in Norway on a small portable keyboard and arranged/produced in my home studio in Belgium. Field recordings made on the place of composition play an important role in this aural story. I call it ‘post-cinematic’ music. Instrumental music, with elements of neo classical, downtempo electronica, dark jazz and post rock. But in the end it’s cinematic:  I tell stories, and take you from one place to another.  

Wanting to do everything myself is the driving force in getting better at music production. Over the years I studied and practiced a lot in order to be able to make decent mixes and masters. Since 2020 I use this experience in helping other artist and became a 'proper' mixing and mastering engineer. Working with immersive audio (Dolby Atmos) is the most recent obsession. Being a strong believer of this new way of experiencing music I not only transform my own music in 3D, I'll also teach about it and work with other artists to create an immersive heaven.

This is my movie. Enjoy the view.