after bringing his projects vidnaObmana (1984-2005) and fear falls burning (2005-2012) to a satisfying conclusion, serries no longer considers it necessary to hide behind alter egos. confident enough to operate under his own name, he is continuing his ongoing search for uncharted territory while keeping in mind the essence which made him want to work with sound in the first place. fascinated by the power of purity, he has built a reputation for building a personal galaxy of harmony and dissonance through dense caleidoscopes of slowly unfolding motives. his upcoming second microphonics-album is a further refinement of this approach. eschewing stereotypical genre exercises, serries refuses to be labeled as a guitarist, weilding his instrument in a way which never denies its original tonal colours while bringing out the unique intimacy of his music.
released in 2008, serries's debut studio album under his own name was all about analog warmth and natural acoustics. for his second full-length and in a bid of creating the perfect sonic space, he has now taken on the challenge of engaging in a dialogue with digital processing. lyricaly titled microphonics xxi - xxv - mounting among the the wings, there's a light in vein. the burden of hope across thousands of rivers, the work is slated for release in early 2013 on renowned dutch label tonefloat as a cd and double 10" vinyl in conjunction with martina verhoeven’s art photography book ‘cities in grey’ collecting her striking city photography used for the microphonics music.
the sobriety of his studio work is mirrored by serries's philosophy to performing live, based on the concept that music should be heard, not seen. focussed like a monk immersed in prayer, he is performing his music almost in complete darkness, making use of both electric amplification, digital processing and the natural resonance of the room and taking the particular characteristics of each venue into consideration. this way, not a single gig sounds the same as the night before.
staying true to his principles, serries is fulfilling an apodictic statement once made by aristoteles: the aim of art is to represent not the outward appearance of things, but their inward significance.