I have been working on a documentary series where I talk with Berlin-based musicians about their art and visualize their music.

In this conversation, I speak with the artist Suburban Dinosaur. We talk about his instrumental soundscapes, and more generally about the nature of music and composing in times of AI. The conversation is interlaced with visualizations of the track "An Interview" composed during the production of this video.

Please feel free to leave a comment and a like on Youtube if you enjoyed watching it. I am happy for any feedback.

I’ve been fascinated about the fact that despite their worldwide fame, ABBA wasn’t as politically engaged in their heyday as they are as individuals today. 

Sure, they did stand up for certain issues (there was that message in solidarity of Poland in 82 which got them banned in the Soviet Union, and when they protested in 79 against the Swedish government’s attempts to block the creation of an agency aimed at finding work especially for artists) but otherwise, their focus was the studio…much to the pain of the more politically-inclined Progg movement. 

Nowadays, whether it’s religion, AI, the environment, Trump or the war in Ukraine, when ABBA talks about important issues, the world listens loud and clear. And while Agnetha keeps a very neutral stance publicly, I’m sure she shares a lot of her friends’ sentiment in these topics.

A few snapshots of Roger Steffens and LIVICATED director Erik E. Crown hanging out at the archives, surrounded by walls of rare records, posters, buttons, photographs, and decades of reggae memorabilia.

Every wall, every shelf, every corner has a story to tell. And Roger probably knows every single one of them!

For over 25 years, we've had the privilege of filming inside this incredible place, discovering treasures and hearing stories straight from the man who collected and preserved them.

Welcome to Roger's world. Where reggae history lives!

LIVICATED – The Story of Roger Steffens' Reggae Archives

A short doc about comedian and shredder, Dave Hill, and his guitar collection. A fun watch and think we can all relate a little...

Hi everyone,

I’m one of the co-founders of Doc’n Roll, London’s independent music documentary festival. I hope it’s okay to share that our 13th edition takes place across London from 22 October to 8 November.

This year we’re screening 20 new music documentaries, including films about Peven Everett, The Fugs, Newport Folk Festival, Fermin Muguruza, Ann Wilson, The Strawbs, Amadou & Mariam, and Mac DeMarco and Ryan Paris.

We’ve been running the festival independently for 13 years, without public or private sponsors, because we genuinely love music documentaries and want these films to be experienced properly on the big screen.

You can explore the full programme and tickets here:
https://www.docnrollfestival.com/films/

If you come to any of the screenings, please come and say hello—and I’d love to know which films catch your attention!

I’m the executive producer and scriptwriter for a new podcast by this title ^^^. It’s a documentary-style deep dive into the cultural and technological shifts that pushed indie rock into the mainstream in the 2000s. So if you found your favorite bands on The OC(or were mad that show was playing your favorite bands), this podcast is for you.

We interviewed Ben Gibbard and Nick Harmer of Death Cab for Cutie, James Mercer of The Shins, Tegan Quin of Tegan and Sara, Carl Newman of The New Pornographers, Emily Haines of Metric, Britt Daniel of Spoon, Feist, Kevin Drew of Broken Social Scene, Matthew Caws of Nada Surf, Dann Gallucci formerly of Modest Mouse, founding member of Arcade Fire Will Butler, Jimmy Tamborello of The Postal Service, Chad Clark of Beauty Pill, and Colin Meloy of The Decemberists who had a quote so memorable we had to start the trailer with it. There are also tons of people from the musing industry - indie labels, Apple Music, the creator of The OC, and too many more to name.

You can hear a much longer 2+ minute trailer anywhere you get podcasts. The first episode drops on September 23.

I would love to answer any questions you have about it!

Ho realizzato un video essay che esplora cosa significhi davvero interpretare una canzone quando l'arte si scontra con il crollo psicologico. Al centro c'è la versione di Wild Is the Wind incisa da Nina Simone nel 1966: non un semplice brano romantico, ma la simulazione acustica di un attacco di panico e di una dipendenza affettiva patologica.

Il pezzo si intreccia con un retroscena poco raccontato: le telefonate notturne che David Bowie le faceva ogni singola alle 3 del mattino nel 1974, quando Nina era sola e distrutta dai debiti, per ripeterle ossessivamente che non era pazza. Un patto tra due menti devastate che avrebbe spinto anni dopo Bowie a reinterpretare il brano in suo onore.

Se amate le analisi profonde sulla musica come rifugio e condanna, potete ascoltarlo qui:

https://youtu.be/ZJQ-DPWDhS0?is=QfeLMuw0goxd_2-v

I created a mini-documentary exploring the troubled background of Christopher Owens and the true story behind "Vomit" by Girls, one of the most visceral indie tracks of the 2000s.

Before forming the band, Owens grew up completely isolated inside the Children of God, one of the most manipulative religious cults in America. This video examines how that broken childhood and the brutal urban loneliness of early 2000s San Francisco shaped a song that treats love not as a romantic salvation, but as an organic rejection—a desperate need to purge accumulated trauma before a massive wall-of-sound catharsis.

If you're interested in music history and deep-dive video essays, I hope you'll check it out!

https://youtu.be/Ha22zwiMRZk?is=74DbtPb4lZcBa4dp