Music has always been a big part of my life. I never learned to read scores properly, only use them occasionally as a guide, and I've always been amazed by musicians who can read scores like they can read a book. This refusal to learn music theory springs from early days, being afraid of losing the joy of hearing music in an objective way. When I first started making my own music, using tape-decks and reel-to-reel, I often went out for a walk having the music in my head and coming back home to continue what I was working on. Always trying to find a way of getting out of the bubble of strict focus and to find a wider perspective. Those walks helped alot.

Buying different recording equipment and instruments has been a great inspiration. I couldn't always afford what I wanted, and cheaper gear was okay and they fulfilled my needs.

Ever since the CD's came out (mid 80's?), I bicycled every friday from work to a record store and bought at least one CD, this continued for over 20 years, searching for new music to get inspired by. I already had my previous idols; Emerson, Lake & Palmer, Genesis, Yes, UK, Frank Zappa, King Crimson, and Jethro Tull, but I was seeking more. I found new music in a section called "on the edge" at this music store. There was music by Elliott Sharp, Kronos Quartet, Terry Riley, and Phillip Glass, there was also New Age music; calm music with atmospheres. My first love of Prog music had opened up my mind for diversity in music, and now I found new music to be inspired by. It was revelating.

I grew up in the 1960s and 1970s, a golden era of rock music. I had the opportunity to see many legendary bands live in Goteborg, Sweden, thanks to my older brother Ingemar who introduced me to music and took me to concerts when I was young. I developed a passion for making music myself.

I wanted to play the organ like Keith Emerson, my first idol, but it was too expensive to buy one. Instead, my parents bought me an electric guitar in September ´74, and at that time we formed a band at school. We had three guitarists and a drummer, but no bass player. I volunteered to play the bass, as I admired bassists like Chris Squire and Gary Thain. I felt at home with the bass and it became my favorite instrument.

I left schoool in 1976, and began working at a printshop. The band stayed together with a new amazing drummer. At this time I also earned some money and could afford the bass of my dreams; a Rickenbacker 4003.

The band became a trio with a new guitarist/singer, and later added another guitarist.

During this time I had a small studio at home with a reel-to-reel tape player, a 4-track cassette deck, and a few instruments. I had a Yamaha SK-20 Stringmachine, an electric guitar, a bass, and a drum-machine. I realized that I enjoyed creating new music and experimenting with different sounds, rather than mastering any particular instrument.

In 1979 and 1980, I had the opportunity to meet other musicians and get involved in recording demos for various bands. I also played bass in Acme Band, a dynamic group that played different genres of music as well as original material. Uffe Börjesson was the one who challenged us to grow and have fun as musicians. I also bought a flute and my first fretless bass.

After the breakup of Acme Band in 1982, I found myself isolated and longing for a musical outlet. I reached out to a singer who had also left his previous group "Studz" and we formed a new band with original material. We had a real nice time playing songs (composed by the singer) and some gigs in the 80's.

I decided to quit the band and to stop playing live in October 1989 after I had a horrible experience at a gig that shattered my confidence. I realized I couldn't cope performing while I couldn't hear what I was playing, and as I was playing a fretless it was crucial.

I was happy to have more freedom and creativity in my music, without the pressure of being in a band. My home studio grew with an Atari 1040ste, a new keyboard, a sampler, and some rack synths.I experimented with different genres and styles in the 90's. This resulted in my first solo album Repple Depple Orchestra, and an album together with workmates (non-musicians). I recorded sounds and voices from the workplace, and did some songs with my closest workmate, and it became the album ReproRappers.

It was a real fruitful period of getting in touch with people in different countries over the internet with similar interest in music genres. It lead to a long period of being involved with 5 tribute albums for Eddie Jobson, and in a band that doesn't meet in person, just sharing files. It suits me perfectly.