Music
Music has always been at the core of my work, functioning both as a way of thinking and as a material practice. I move between long-term collaborations with artists from different disciplines and a more autonomous musical practice, including a developing solo project, allowing music to shift between collective and individual contexts. Across these projects, sound, performance, and audience continually influence one another. Below you will find a selection of projects.
Berglicht
2025 - ongoingsolo project
How do you sing with a melting glacier?
How do you speak with the echo-creature Yamabiko,the one who answers only if you listen?
How do you hear what moves beneath the surface?
Berglicht is a musical practice that came out of a deep listening practice. It combines layers of voice, pianet, reel-to-reel tapes, analog synths, field recordings and the interplay of space and resonance. The work emerges from encounters with landscapes and more-than-human voices: melting glaciers, underground streams, forest creatures. Drawing inspiration from the Japanese Yamabiko: a yokai that houses in the hills and that returns questions in sound.
The project also carries seeds of resistance. It perceives the world as a silent witness and a source of strength: in awe of the olive trees in Gaza, which endure destruction yet continue to regrow; in admiration of mountains that have weathered more cycles than we can count; and in quiet curiosity toward the memories buried deep within the soil.
In early 2025, the first compositions of Berglicht were presented as part of an installation at Art Rotterdam. Later that year, the project was performed live for the first time during a residency at Paviljoen Ongehoorde Muziek in Eindhoven. For this occasion, I was joined by Rosalie Wammes (harp & Prophet) and Herman van den Muijsenberg (field recordings) in a live set where I sang and played pianet, and human voices, instruments, and environmental sounds intertwined into a shared, immersive sonic landscape.
SPILL GOLD
2021 - Ongoing
Band with Nina de JongDarkness and light, playfulness and control: Spill Gold is a duo enhancing the transcendental character of duality. With cosmic, catchy & alienating sounds, coming from their drums, synths and voices, they are inviting you to a possible catharsis.
Past releases include an EP on Beacon Sound Records (US, 2017), and the albums Highway Hypnosis on Knekelhuis Records (NL, 2020) and ZaZa on Teenage Menopause Records (FR, 2024). The band has toured across Canada, the US, Europe, and the UK, performing at Grauzone, Roadburn, Blue Dot Festival, Le Guess Who, and Eurosonic, with airplay on BBC 6.
Bandcamp
Sonic Witch
2021Choir project with Alexandra Duvekot
In 2021 we wrote four compositions for a choir of four voices, MS20 Korg & Cello around the question “Where do we meet?”
In the video you will hear the songs Sisterboy, La Mer, Shadow, Bird Wall. Compositions by Alexandra Duvekot and Rosa Ronsdorf
Sonic Witch was sung by: Alexandra Duvekot, Rosa Ronsdorf, Lucy Kruger, Rosanne Pollmann, Ilgin Deniz Akseloglu, Anna Piroska Tóth.
In the words of artist Harun Morrison:
“The choir begins with the stirrings of a double bass, complimented by whirring wintry sounds, produced with a tape-delayed Korg MS20.
Their act raises a meta-question: how to make inquiry through music in a visual arts context? Or what kind of inquiry is produced by music in this context? The ‘where do we meet’ is as much a question of intersecting disciplines as bodies. When the action that generated the sound has ceased we continue to hear it reverberating through the room. Lyrics similarly reverberate in our mind: ‘We lose our feathers mid-flight’. Or later in the song, La Mer, the refrain 'la mer a toujours raison'. “It means; the sea is always right; but mer and mere, mother and sea have the same sound in French. So people hear what they want to hear.”
The performers’ meeting occurs in the air around them through syncopated chants. While their arrangement in a row also plays with the typical uniformity of a choir. In accordance with their name, Sonic Witch, the spoken word takes on an incantatory, spell-binding force: “A wave, a pitch, a herd, a haze / Back against the bird wall.”
Ada Gadass
2020Collaboration with Alexandra Duvekot
Ada Gadass is the personification of the mother of us all, the anonymous woman, the burned witch. Ada tells us about the ‘Wild Woman’ in all her desires, heartbreak, shapes, times, myths and stories. Where can we find these female archetypes within ourselves, and in the world around us today? In the desert she is transparant, integrated in waves of sand. In the river she is translucent, transformed in water where the rhythm of her steps become home to her voice.
In collaboration with Alexandra Duvekot we wrote an ode to Ada Gadass. Our sonic journey started in the Sahara desert January 2017 where we recorded ‘Nina’ under a black tent on a de-tuned guitar in the middle of Oasis Tissardmine on the Oed Saf Saf, 30kms southeast of Rissani. In January 2018 we took our collected sounds to a watermill in a village in the South of France and finished writing eleven stories in sound.
Painting by Roberta Petzoldt