Silent Noise Revolution

I love noise, it masks my tinnitus. I’ve don’t have a specific preference for the kind of noise source. Sometimes I use electromagnetic sensors to pick up signals that we can not hear. Sometimes I make recordings of end-grooves of crackling vinyl records, with the needle skipping each round of the record. Sometimes I record noise from erased cassette tapes. The ever changing hiss is like the texture of an empty canvas. Sometimes I use the noise between stations on an old radio. Sometimes I experiment with electronic circuits and crackle boxes. Sometimes I put a probe on a working analog or digital circuit board. Noise is pure, it can be shaped in many different ways. When I improvise on the piano without noise, most of the time I feel uninspired. Improvising piano on a bed of noise has the amazing effect on me: it unlocks a window through which endless inspiration comes is. It continues to amaze me.

A New Day was my 3rd release, early March 2016. I was lucky that it was picked up by Nils Frahm. During several years Nils published a Piano Day playlist on the 88th day of the year (a piano has 88 keys). At that time Soundcloud was the center of gravity, later he also published a Piano Day playlist on Spotify. I feel greatful that since 2016 each year a new Silent Noise Revolution track made it to the Piano Day playlist. Nils, I have never talked to you in person (queing up and waiting after a live gig is not my thing) but thanks a lot! (the photo for the cover of A New Day was made by my daughter while we had a walk in the wood of Buggenhout)

The biggest trap of a personal project is total freedom: you are the master of your own agenda. Because I have a tendency toward perfectionism, my natural way is the path of continuous improvements and changes. To keep myself on the track I needed a technique to break through my own inhibitions: I made a public announcement that I would release a new track on the first Sunday of every month. This was the best boost ever for my creativity and productivity: I had a fixed format with deadlines imposed on myself, a perfect way to get this high in my to-do list. Procrastination was no longer an issue, and the only way of coping with my fear of failure was to make sure I dedicated to make the best of each track to meet next deadline. I continued these monthly releases for a full year, and honestly: every release was a hard lesson, but it gradually helped me to overcome my fears. Looking back at more than 50 released today, I'm convinced that this method was the best possible help. If you are

I just realised that Silent Noise Revolution took off 10 years ago, amazing how times flies! It started like this: I came out of the shower and an epiphanic bubble came out of nowhere and plopped into my mind. After years of engagaement in projects with other artists like Odette Di Maio (Miss O) and Kyoko Baertsoen I felt the urge to lay my own egg. At that time I was playing a lot of piano and experimenting with electronic circuits and crackle boxes, but as 2 separate worlds. Silent Noise Revolution is just the combination of those different worlds into something new. It ignited my excitement and today I am still exploring new sounds, clicks and glitches to combine with minimal piano. Silent Noise Revolution helps me to find balance, peace and disconnect, 10 years ago I could hardly predict how much I would need that in these times.