CONCEPT ALBUM

Conceived as a ROCK OPERA, 

CROSSING THE OCEAN OF ETERNITY offers a cohesive and immersive musical journey.

The album is currently being finalized and will be released shortly.

background story

It took roughly six years to move from the initial conceptual outline to the final mastering of the complete soundtrack / rock opera.

Here is my story about  the making of Crossing The Ocean Of Eternity.

notification !!

Currently released songs intended for the rock opera have been reworked. Old ones have now been withdrawn from the streaming services. The new versions will be found on the album.

List of songs removed/to be replaced.

in progress

LÅT OSS DRA   Something of a back-to-the-roots kind of song.  First one out in a collection of songs with Swedish lyrics. Two  Three more already written with more to come.

Perhaps the birth of my next album.

works

I exclusively play my own tailored songs. Besides composing, arranging and performing music, I write lyrics and short stories, paints, modulates and more to form my statement.

experience

I have my roots in the 70'ies, though I have been playing and listening to new music since late 60'ies up until today, and hope to keep an open mind for many more years to come.

MUSIC genre

Having influences stretching from blues, folk and pop to jazz, funk and electronic music, this is indie produced, alternative rock that partly borders on  progressive rock. 

sound

Instruments and sounds reaches from acoustic recordings to wired, electric and synthesized instruments, sounds and vocals. It is all about the sensation of the cohesive perception.

Concept

the idea

As the years advanced, a quiet need grew within me to create something enduring — something true. I began writing songs that more closely mirrored my inner life, my thoughts and lived experiences. Before long, the idea took shape: to weave these songs into a narrative. A story imagined, yet deeply rooted in what I had lived.

A Rock Opera. To explain, to share and to embrace. To understand and be understood. To live and not to die.

Writing

music & lyrics

Melody and lyrics I always create simultaneously, followed by detailed refinement of the music, including arrangement, sound design, and instrumentation. Lyrics are often revised afterward to ensure proper melodic phrasing and rhythmic compatibility.

Guitars and piano/keyboard parts are performed using analog instruments, while bass, drums, brass, and additional instrumentation are produced with virtual instruments. No pre-made loops or drum machines are used; all parts are performed manually, typically via computer keyboard or MIDI pads, programmed note by note. Only ambient elements such as rain, thunder, birdsong, and similar effects are sampled (pre-recorded).

Vocals are of course always real life recordings.

This approach ensures full control over dynamics, articulation, and expression, preserving a performance-driven feel throughout the production despite the use of virtual instruments.

Recording

home-studio

This has been one of my greater challenges, as I am still a novice when it comes to recording techniques — and not least because everything has been done in a home office environment. I have had to learn a great deal about room acoustics, microphone placement, and the individual characteristics of instruments and voices. Mattresses, pillows, curtains — whatever works — experimenting with different angles and distances to the microphones and so forth. Even body powder on my hands to prevent squeaks on acoustic guitars, soft home sneakers to prevent floor noise. Well you name it, I probably tried it.

One principle I have placed great emphasis on is Joe Gilder’s advice to “Get It Right at the Source.” Rather than trying to fix poor tracks with EQ, compressors, and similar tools, I roll up my sleeves and redo takes until they sound right. This often means first spending more time practicing the playing or the vocal performance.

Otherwise, my setup is relatively simple: a small PreSonus AudioBox interface, along with one Sennheiser and one Shure microphone. And a DAW, of course. Yes, that’s it.

Production

edit & mastering

The second major challenge was learning how to work in a DAW. I chose Studio One (now branded Fender), as it appeared both intuitive and reasonably priced. I had to become familiar with enough functions, routing, workflow, and production techniques to achieve solid, usable results. And then there were the plugins — how they shape the sound, and the unintended consequences they can introduce if misused. This was an entirely new world to me. Where I would be without YouTube is an open question.

Early on, I decided to limit the number of plugins I relied on, focusing instead on developing a solid understanding of how to use them effectively.

Monitoring proved to be crucial for accurate editing and mixing, so I invested in a pair of Adam Audio T7V monitors along with Shure SRH940 studio headphones. It’s a balanced setup that has served me well.

Even more important — and more challenging — has been achieving the right balance in the mix: creating a relatively flat and transferable sound that translates across different playback systems, from a basic car stereo to high-end hi-fi equipment. An otherwise great track can easily be compromised by poor balance if it only works in the studio environment.

Once everything is in place up to this point, I consider the final mastering stage to be a matter of fine-tuning levels, cohesion, and tonal balance — ensuring that the tracks and songs hold together as a unified whole