electronic music


I have been addicted to electronic music since its inception. My youth was influenced by the first LPs of Tangerine Dream and performances of Klaus Schulze, then Kraftwerk and finally Jean Michel Jarre and many others such as Vimal, Vangelis, Tomita, Wendy Carlos, Erdenklang, Claude Larson, Gershon Kingsley, Laurie Anderson, Rupert Hine and , and , and …..

I have built most of my instruments myself. Depending on my financial situation, purchased instruments were added, as you can see in the instrument lists of my recordings. I developed and played large modular systems between the ages of 16 and 24. During my two years of assisting and working with composer Gershon Kingsley (Popcorn), I was able to use my technical knowledge to service his Moog modular systems and was allowed to use them for my songs.

From the beginning I called myself “Symboter”. A pseudonym that brings together the two worlds of man and machine: the symbiosis of man and robot.

I founded my first studio for electronic music in Munich in 1975, and in the following years it grew into a place of many sound experiments with friends in various constellations. My quite successful solo cassettes were released by SYNTAPE. Encouraged by this, I played some live concerts at home and finally recorded the LP “Japotage” with a loosely connected group of musicians.

This was followed by music for movies, TV trailers, theme music and commercials for various broadcasters, TV programs and artists. While working as an art director for a TV station, I met Freddy Mercury of Queen and produced visual effects for him. A few years later I worked with Peter Gabriel (Genesis), Dieter Meier (Yello), Helen Schneider and Eberhard Schöner, again in the field of VFX.


In 2006 I moved to my hometown Berlin, where I live and work as a visual artist, sound artist and musician.

The path of my more than 40 years of involvement with electronic and avant-garde music is the exploration of the blurred area between the crests and troughs of waves, between sound and non-sound. I am fascinated by sound sculptures and spatial sound experiences, and I continue to create works that deal with them.

I am coming closer to my desire for sound creations, now completely different, sensor-controlled, compositionally much more complex, minimalistic with finer nuances. For me, Steve Reich’s phasing is as much a stylistic element as Brian Eno’s generative music, but – as I said – “only an element” within a work and not the work. My styles are diverse, but what they all have in common is a tendency to break with tradition.

Some of my music contains vocals or vocal events: similar to James Blake, I am not interested in portraying my personality when I sing or something or someone sings, but in creating a vocal character within the musical event, in addition to some content to be conveyed.

In all this time, I have made recordings that can be found on streaming platforms; a label in France takes care of that. But also CD and LP in small editions that are probably sold out.

Have a look at the other sections for discography and music, you can listen to a lot there and find the links.

Enjoy this song:


Song about an AI speech engine learning to talk,
leads finally to “Gehabe”, a german word of
“to act as if”.

Symboter News

Latest News

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