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, an Ensoniq ESQ-1 keyboard, Akai S900 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.

Beginning in the late 90's I've had lots of fun 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 (PRoPoRTIoNS) that doesn't meet in person, just sharing files. It suits me perfectly.