About
I am a composer, audio designer and sound tool builder based in Copenhagen. I have a masters in improvisation and composition from the Music Academy in Malmö Sweden and recently finished the sound design and Wwise course at School of Video Game Audio.
I currently work as a sound designer for IO Interactive on the 007 project. Since 2015 I have contributed as a sound artist for game-composer Martin Stig Andersen on Wolfenstein The New Colossus and Youngblood, Control and Back4Blood.
I am originally educated a piano player but the fact that you can’t manipulate or bend the strings of a piano (in the way that I dreamt of) eventually made me start building and modify my own instruments. I build various sound tools for my own use and occasionally on demand customised especially for the projects that I work on.
In 2021 I won the British Sound of the Year Award by The Museum of Sound and the New BBC Radiophonic Workshop with my V7 sound library in the category Best Artificial Sound – a sound created or manipulated to sound like something it isn’t. The same library was recently nominated for A Sound Effect’s Indie Sound Award in the category Best Sound library.
I have a deep interest in the texture and structure of sound. I often find myself exploring and investigating the sounds of different objects. Whether it be old organ pipes, cheap-keyboards-running-low-on-batteries, a beautifully squeaking bridge or a hifi recording of a kitchen fan.
Both as a composer and sound designer my work is often a result of a process where I sculpture and layer sound elements both played and sampled. Sometimes handled with utmost care and other times with calculated carelessness. I sometimes polish to an almost psychopathic extent and other times I keep the untreated ingredients completely raw. My sound design and music is diverse, touches a variety of genres and always wants to be listened to.
DIY and prepared Instruments
Excerpts from album and concert reviews
“A visionary and brilliant album, which screams for repeated listens.”
- Allan Sommer, JazzSpecial
“Infernal free jazz with thundering distorted bass and screaming saxophones, that makes the infamous free jazz saxophonist Peter Brötzmann seem like a schoolboy”
- Jakob Bækgaard, Geiger.dk
“A small jewel with over an hour of music to dream yourself away to, fantasize around or just enjoy. Highly recommended.”
- Robert Ryttman, Zero Music
“A freezin cold tapestry for a lonely trumpet, a tuba echoing some sparse laments, a tumbling brass in the background. Lasfaria is a revisitation of the guggenmusig, filtered through the lens of dadaism, industrial, electronic, metal and ambient music. Wild and distant, unutterable, rhythmically unsteady, yet sensually labirinthine.”
- Marcello Nardi, Music for Watermelons
“The message remains the loud and clear : resist, be genuine, compassionate and sometimes totally silly, true to the much needed free spirit of the Laslafaria ideology. But beware! You may surprise yourself involuntarily make some of your best dancing moves when you’ll reach to the most addictive piece here, ”The Niesenbahn Defeat.”
- Eyal Hareuveni, salt peanuts
“Diverse, virtuoso, funny and completely irresistible.”
- Magnus Eriksson, Lira
“They are moving with surprising ease between introvert experiments and naive humouristic playfulness.”
- Christhopher Thorén, Lira
“During the a bit more than hour long concert, the music is swinging between the beautiful and melancholic to hideous screams, suddenly moving to humming, croaking, babbling synth sounds, making a transition to the next wave.”
– Anders Eklind, Gäfle Dagblad
“Amsler’s music is again fantasy widening and filmic. Listen to the dramatic “Rigibahn, funeral march”, indiscriminately ugly and beautiful, calm and messy, acoustic and electronic.”
– Robert Ryttman, Zero Music
''Nice melodies, raging noise rock, charming sound assaults.''
– dr.dk
“Hell it’s an intriguing album: All spooky sounds, tape loops, atonal sax and clarinet, guitar noise.”
– Jon A, Lowcut
“One hour of intense melodramatic moods.”
– Nils Overgaard, Jazznyt
“During 60 minutes Television Pickup is moving between John Barry, jazz of the 20’s, doomy ECM-jazz, hillbilly, Ornette Coleman meets King Crimson-jazz, creaky Hitchcock soundscapes, short glimpses of classical and some more – a musical jambalaya as the band itself puts it.”
– Markus Axelsson, Jazz på svenska
“Overgrown and daring songs… The adventurous are doing the right thing in coloring their fantasies with this eventful record.''
– Robert Ryttman, Zero Music
“Television Pickup invites the listener to a musical journey, that’s as strange and adventurous as it is playful… Next time you consider going to the movies you might instead pay for a ticket to Television Pickup.”
– Jakob Bækgaard, Geiger.dk
“This may not be for all rock’n’rollers or headbangers, but it would do them well to give it a listen.”
- Jon A, Low Cut Magazine
“I hope they all want to come and play Laslafaria just before I die, because it's one of the last things I want to hear in this earthly life, something I need to take with me when I paddle over Styx on my own. ”
- Jan-Erik Zandersson – Universum Noll
“The music is like when a child goes on an expedition on grandma’s attic, where you find all sorts of exciting forgotten things in the dim light, and where it may well be a little creepy now and then.”
- Niels Overgaard, Jazznyt
“The parlament is expecting to agree on a proposition which makes it illegal not to own this album. And it’s good looking too.”
- Oskar Schönning, Musician
“Dynamic dynamite !”
- Lars Åbom, Corren
“Simple melodies, minimalism and brutal rock riffs with a large amount of improvisation. Sharply shifting moods for people with a lot of nerve and musical curiosity.”
- DMF, Musikeren