My odyssey through the ever-shifting landscape of electronic music begins with the synthetic chirps of “Popcorn” emanating from a compact record player. This proto-electronic earworm, a harbinger of the digital revolution to come, wormed its way into my consciousness long before I could conceive of the vast sonic territories I would one day explore.

In the 80s, I was fascinated by the bleeps and bloops of early synth pop. With no formal training, I just dove in, using whatever I could get my hands on — mainly a cheap Casio keyboard and a tape recorder. My early experiments were simple yet exciting. I'd create infinite loops of favorite song fragments, a primitive form of remixing born from double cassette deck wizardry. The first time I heard “Being Boiled” by The Human League, it blew my mind.

The 1990s ushered in an era of rapid expansion, both personally and for electronic music writ large. As genres proliferated and mutated at a dizzying pace, I found myself drawn into the orbit of Detroit electro and the uncompromising thump of industrial techno. I was DJing by then, playing hard industrial techno in clubs, but always dreaming of making my own tracks.

The mind-bending sounds of IDM artists like Autechre and Squarepusher completely rewired how I thought about music. Their complex algorithms of sound, at once cerebral and visceral, challenged the very notion of what constituted ‘dance’ music. In their wake, my own productions under the “Spenza” moniker attempted to navigate these new rhythmic frontiers.

During this period, I became part of a diverse artist community — living and working alongside industrial designers, photographers, painters, actors, graphic artists, and other musicians. Together, we organized events where we built entire venues from scratch. It was during this time that I co-founded Vakant, taking charge of the label's visual identity.

My musical palette continued to expand. Bands like Soulwax, Air, Moderat, and LCD Soundsystem became major influences, inspiring me to explore a more melodic and accessible side of electronic music. This phase culminated in the birth of Theatre of Delays.

Under this new moniker, I embarked on an ambitious series of remixes — Radiohead, Red Hot Chili Peppers, Daft Punk, and Caribou, among others. The positive reception, including blog coverage (my original track “Black Ballet” hit No. 1 on the Hypem Charts), encouraged me to continue pushing the boundaries of my sound.

The most significant shift was yet to come. My sound began to evolve in a dramatically different direction — the frenetic energy of club-oriented music gave way to more contemplative, ambient explorations. Over these past years, I've delved deep into the realms of ambient, noise, and drone music. The change in environment played a crucial role — vast, open spaces inspiring a more expansive and introspective sound.

My ambient work has allowed me to explore texture and atmosphere in ways I never could with beat-driven music. I've focused on creating immersive soundscapes that blur the lines between organic and synthetic, diving deep into modular sound-design and granular synthesis. My track “Spacing Out” was featured on Spotify's ambient playlists, while “Far” caught the attention of Bandcamp's editorial team. This ambient phase also led to my first foray into soundtrack work — creating the atmospheric score for the game “The Entropy Centre.”

Currently, my work as Theatre of Delays continues to evolve. I'm exploring a fusion of ambient synth textures with subtly distorted, slow-motion beats, creating a sound that's dark, emotional, and deeply atmospheric — the natural culmination of a decades-long journey through electronic music.