Composer | Creative Director | Music Producer


I believe in creative talent and in the power of a hook so strong it sticks.

After twenty years co-running Sizzer, I shut the boardroom door in 2025 and went back to what matters: making music.

Raw, clear, imperfect. Energy, humor, and a little madness.
My focus: international features (horror/thrillers), cinematic jazz scores and covers, and iconic brand work. I build small, exceptional teams around each project and aim for one thing: work that moves people.




From Horror to Heineken.

For me, music starts with taste. With a personal signature, a concept, and the instinct for a hook that can carry a story. That instinct has taken me from Cannes Lions awards to global campaigns, and from intimate collaborations to scoring international films.

For twenty years I co-ran Sizzer, building it from a small duo into one of the most awarded music agencies in the world. We worked with hundreds of composers, researchers, and artists — and for brands from Heineken to Diesel. But growth also meant boardrooms, margins and endless meetings. What began as pure passion slowly became a cage.

In 2025 I closed that boardroom door and chose music again. Boutique, flexible, with small teams and full focus on the work. Exceptional creative talent, craft, and imperfection at the heart of it all.




Some highlights along the way:

• Diesel’s Hate Couture: when I suddenly heard the perfect idea — blending a mood track with an old musical number — and knew it was gold. The result blew the agency away and went on to win awards worldwide.
  
  
• Krazy House: instead of scoring scene by scene, I created a 30-minute suite. At first the director was shocked, but after long car rides he and the editor re-cut the film around my music. A perfect example of how collaboration and risk can create something unique.
  
  
• Bad Boa’s: a Netflix feature that marked the moment I chose once and for all for film composing over agency life.

Today my focus is clear: international features (especially horror and thrillers), cinematic jazz scores and covers, and iconic brand work. Four major projects a year, always with small, exceptional teams.

No snobbery. A killer brand tune can be just as cool as an arthouse horror score. What matters is talent, craft, and the energy to make something unforgettable.