This chapter is about exploring, what I could do with the piano.

1st album: Birth of something

Well. I just wanted to try to express, what I had experienced at a conference two weeks ago. I recorded the session with the intention to later take the ideas and melodies and compose songs out of them - as this was my usual approach so far.

What I got was a nearly two hour long session. After listening to it over and over again and trying to develop it further felt not right here. So after a while I decided to publish major parts of it uncut on streaming services as my first piano album.

In this very recording, you can witness the process that I am going through as a musical developing journey. This is a very special recording for me, marking a milestone in reaching personal height's in musical expression and my transition into channeling.

I wanted to call the album "birth of beyond intuitive piano playing", but it was rejected as this does not meet the guidelines for naming at streaming services (no descriptive titles such as "piano playing"). Which makes sense, but limits things.

The following video takes you into my world, what happened during this session. At this stage I have not even linked all the pieces: I was not yet aware of the fact that it actually was my first channeling session - yet I knew it was something else.

Hence, I use "birth of beyond intuitive piano playing" as a name here, because I somehow was all of a sudden able to play far beyond my regular framework of improvisation. Some parts I was technically unable to reproduce after it: too complex and too fast for my level of playing at this stage. This is just 2,5 years after my first piano song.

Besides more information about the recording, I show the very moment where I realise that something is different today and is expressed through me: Playing a glissando at 3:14 in the video. Rarely I have used a glissando in my playing and never before I have done it or seen it being played with a fist.

There is a large number of themes and melodies in this session that is hard to count as songs. Let's just take for reference this album as 6 songs, as I have splitted the session for the album release into these chapters. With the previous 6 music videos / songs, it is 12 by now.

After my first concert as a multi-intrumentalist, I took some time to record my favourite vibraphone tune: Axel F (most people today know it as "crazy frog").

All the instruments you hear (also drums and bass-guitar in the playback) I played myself. And I doubled/recorded one part of the vibraphone to have different melodies playing at the same time.

Oh and the acoustics in this underground church are just wonderful. Have a listen.

This setup is just right. I play back the other instruments on loudspeakers and the microphones above the vibraphone capture everything just fine. Zero editing.

It took me a while to get the motor for the vibrato going again. Extra appreciation for the vibraphone vibrato please (the sound is not a constant note but the volume is going up and down fast).

My heart likes this very much when I hear this and look back. This is so much fun to do and reminding me of my first steps as a drummer, playing this tune with a group of 6 percussionists when I was a teenager. Yet, it is not a piano song, so it does not count as one in this list. Yet, this definetely is a part of my piano-story.

Got a rose from a summerfestival at the neighbour town and so I had some fun playing for it.

This is "quick and dirty" - I think it is just the camera mic. This is basically a try, what the resonance with such a short will be. Does not count as a song in this list :)

13th song: Piano improvisation at Gimegolts canyon

Apart from a short piece of music that shows my current skills of improvisation, this video displays (again) my snowart at Gimegolts: I like to do these snow sculptures by walking.

My best and largest snow sculptures can be seen in my handpan music video with snow art, featuring drone footage as well.

The third and last music footage of Gimegolts can be seen here (another handpan video).

After my first own piano concert on 5th of May 2024 in Sorsele, I got the opportunity to record and experiment just for myself with the lovely grand piano afterwards.

This was already my "good bye"-concert for Sorsele, as I had decided to leave after the end of the schoolyear and head to Cyprus. I could try various ideas and some concept for this event which was fun and helped me develop further: I got the feedback the pieces I played where often too short - so I need to allow myself to take more room for each piece for example.

And so, after recording several other ideas (not edited / published yet), it took me to play 25 minutes straight. Energywise one of the strongest recordings to me. Sometimes I get for example feedback like "I felt an energetic cleansing starting somewhere in the middle during the song: Starting from face, down to feet."

It builts up slowly but steadily. Some said, it gives them goose bumps directly at the beginning. And my favourite part is the tempo change towards the end. Never played it like this before. Playing towards the change of the tempo, I was unsure if it would work timingwise with the delay effect. It could have ruined the session. Glad it fitted.

This is my most viewed piano song (after two instructional videos on piano topics). Everything comes together here: My effort in creating a beautiful scene on the stage, proper sound of the grand piano and me at a very good level playing it as a medium. Enjoy.

Later also released on Streaming Services (06. Dez 2024).

After I found out, that blue suits me better, I uploaded a blue version of Filadelfia Flow onto my dedicated Youtube-Channel for Piano-Channeling in September 2025. The audio remained the same.

2nd album: Ich glaube an mich

The title "Ich glaube an mich" is german for: "I believe in myself".

The evening before, I already had a strong feeling, I needed to express some stuff on the piano. Maybe it would be similar to the session I had after that seminar (where my first channeling and piano album followed).

So, I had to cancel a scheduled phone call with a friend at that sunday. I set up the recording gear, tuned the piano rather in a hurry and got going.

Occasionally, I was not happy with the tuning of the higher notes during playing unfortunately - but I had to continue the flow, it takes me just too long to tune these old strings in the high register. Yet, I was stunned how various in style and mood the tracks were coming out this day. I took one break for eating, other than that, I just played and recorded straight.

Sometimes it was tricky to feel, how long I should play each vibe. Two tracks were short and felt they did not even start when I listened to them afterwards. I consider this practicing to get a feeling for how to deal with my piano-channeling. So 15 out of 17 songs made it on the album, all channeled. Played / recorded in just one day.

But with all the tracks I then just one problem: I had no clue how to name the songs. You technically need names for songs to release them. And I do not want to have random names.

Finally, I asked my friend Barbara who was kind enough to gave the album a listen and came up with wonderful name ideas. When I listen to the songs with the names she suggested, I feel like "oh yes, this is what I am actually playing about.".

Then, you also need a picture aka cover-art to release music. And I do not want it to be just a random picture either. So, now it has a painting that Barbara painted for me one year earlier. I started the painting in her home (nearby my german home town Gütersloh) by writing the affirmation "ich glaube an mich" on the canvas. Which is her style of beginning her paintings.

She then adds layer by layer and repeats the affirmation, writing it again all over the painting. I just wished for using the colors violett and gold, the rest was hers. She included some personal pieces like a ferry receipt from my then recent trip from Sweden to Germany and glued some other fragments of papers onto the painting as well, such as memories of the Wintergatan-Meetup that I just attended (Martin Molin is one of my favourite YouTubers and musicians). See if you can find these details in the picture.

So, all in all, I would say this is my most diverse and structured album so far: it even has proper songs this time.

Next time, I just should take care about the tuning in the higher regions a bit more (sorry if you have good ears). There is just no pro piano tuner available short term on a sunday morning in northern Sweden. But most parts sound fine for me, when getting used to it for a moment.

3rd album: Thinking back and moving forward

These are several pieces where I explore for example also the idea of playing less: Holding long notes at a duration where it gets boring while playing. Giving the notes more space to breathe. Yet when listening to the recording, I felt not bored at all. Me developing as an artist. This album is not channeled, this is my regular improvisation.

The songs are recorded on different days. Occasionally I play with an open window after the rain - you hear birds singing in the background and on one track als a car passing by. This is all unedited. Me exploring different ideas and moods.

35th song: Recalling the wild one

Recorded in the same setup and environment as the album "Thinking back and moving forward", but this one somehow is different: it is channeled. So, I released it separately.

A nice musical story to listen to.

For me it reflects the two modes of being in us - the focused, sharp, strong masculine (in the bass section) and the soft, elegant, playful feminine (in the melody), which learn how to dance together during the song, going towards each other, ultimately becoming one.

36th song: Alllive

What happens if I play drums for a warm-up and then play synthesizer on top of it for several rounds? This.

And because it is groovy as f, I put together three versions of it with the different takes for bass and melody.

The drums were just put up for a major recording session on the stage of a cinema that I could use for recording in Sorsele. Here I started recording just to see if every microphone is working and get used to the setup. I cut away a third of the drums, but the rest was a nice groove actually. Slightly wonky in the way I like it, because well, I was just warming up and did not care. Sometimes you are best when you actually do not care.

I had that synthesizer "Osmosis" (from a company called Expressive E) with me, that can create pretty alive sounds and even control pitch bend with every single key for each note (the first of its kind). You need to play pretty carefully to not pitch bend notes by accident (I needed to edit a lot to get several slight pitch bends by mistake out). Was nice to have fun with this. Deserves a video.

This keyboard also has a feature called "aftertouch" which enables me to change some parameter when I vary the pressure of an already put down key. This enables me to change the intensity of the sound according to the music tempo. I like.

With the Osmosis synthesizer I could do fun stuff like this, but this keyboard is not what suits me for Piano-Channeling I realised, I needed something else.

After recording this bunch of music (15-38th piano song and 22-37th handpan song) I headed to Cyprus. Too many cold winters in Sweden raised the need to be somewhere sunny. There I took a break from playing music for a while and got into editing and releasing the music from my swedish archive step by step over the upcoming months.

And after a while, I got myself a used digital piano. And with this new setup, I prepared to take things to the next level, deciding to focus on Piano-Channeling as this is something unique and the feedbacks were really good.