In a Piano State of Mind

The piano has always had a special pull on me. As a child, I was fascinated by how a single key could produce sounds ranging from deep and rumbling to delicate and bright, and I knew early on that I wanted to learn to play. The tactile sensation of pressing a key and instantly hearing a tone made the experience feel almost magical.

In school, I had the privilege of taking lessons at the municipal music school. That’s where I learned the basics — from simple beginner tunes to more advanced pieces. One of them was Cavatina from The Deer Hunter, which became my final piano assignment in ninth grade. Those lessons laid the foundation for the technique and confidence that have followed me throughout a lifetime of musical exploration.

In my twenties, I lived in Hamburg for a few years. When I moved into my first apartment, a brand-new Yamaha digital piano came with me. Over time, I grew increasingly interested in improvisation. By playing freely and experimenting, melodies began to take shape — and that’s when I realised I could create music that touched people.

In 2017, I began a collaboration with Ioana Amarita, who helped me arrange and record seven of my compositions. The result was my debut album Blissful in December, released in October that year. Until then, the pieces had existed only as my own private music, so it was an incredible feeling to see the album find listeners around the world. The following year, it was joined by On the Lovely Side of the Town, and in 2019 I released the single Antagligen (“Probably”).

I often say that I appreciate any music that manages to move me, regardless of genre. My playlists include everything from classical pieces to the latest pop releases, but I frequently return to folk ballads, French chansons, musical theatre, and singer-songwriters — music where melody and storytelling take centre stage.

Among the composers who have inspired me the most are Stefan Nilsson, Rachel Portman, Kevin Kern, and Joe Hisaishi. Their work is marked by harmonies that go straight to the heart, and it’s no coincidence that their music often appears in powerful film experiences — like Portman’s score for The Cider House Rules or Hisaishi’s in the Studio Ghibli films. My hope is that my own music can give listeners a similar sense of emotional depth.

Other artists I listen to frequently include Laleh, Thomas Stenström, Veronica Maggio, Sia, and Tom Odell — each with a personal musical expression I admire.

Looking ahead, I’m planning a new album. Several new melodies are already composed and waiting for arrangements and recording. My goal is to continue exploring musical possibilities, especially when it comes to larger orchestral textures and music suited for live performance.

Another long-term dream is to one day compose and bring to life a musical of my own.

I also want to deepen my knowledge of music theory, composition, arranging, and digital production. My ambition is to create music in more genres — and perhaps collaborate with other musicians to discover new ideas and soundscapes together.

And one day, I’ll finally try to learn how to play the acoustic guitar I bought a few years ago. Rock on!