In my compositions, I make political statements. I experiment with process-oriented structures which, within the context of each composition, have a decisive effect and thus encourage reflection. Slowness and immersive elements play a central role, as do, at times, fast and loud moments or entire works. Their clarifying yet hypnotic power makes the experience profound and haunting.

For the most part, I produce my own compositions and band projects, also in collaborations. Here, I mainly develop productions in the genres of experimental, new music, minimal, industrial, krautrock, free jazz and electronic music, depending on the project. My aim is to use my avant-garde approach to create a soundscape that remains vibrant, whilst also pushing boundaries. In the case of “TMIND | The Moon Is No Door”, for example, we initially made decisions together in the recording studio, then I produced the album "Tiny Moment" entirely on my computer during the pandemic, so that it could be released in 2022 as soon as the tour was confirmed. My experimental musical audio drama "The Mark on the Wall" based on Virginia Woolf, on the other hand, was mixed by Martin Offik and me together, although ultimately I selected the 28 tracks for the double CD and decided on the mastering and layout.

These days, I usually perform in my own works, such as the song ‘Spring Wind in London’, accompanied by the ensemble LUX:NM, in my interdisciplinary music theatre THE WATS (2025). In solo or ensemble performances, I combine song performance with electronic sets.  I’ve also performed my own written compositions time and again – such as the world premiere in Berlin of my piano piece ‘Sp19ri9ng one’, shortly after returning from New York, were it was composed, or, as was the case at the premiere of the music-theatre trio ‘Amidst’, I took on the performance and played the prepared piano.