After receiving positive reviews from ‘The Observer’, at the end of 2011 I was inspired to create a second album, which eventually became Universal Laws.

While my musical background from the 80s remains evident, I have attempted to expand beyond the realm of synth/electro pop by incorporating analogue sounds and increasing the use of the guitar, triggered by MIDI keyboard commands.

The lyrics often touch upon spiritual and personal growth themes, so maintaining a sense of continuity with those from ‘The Observer’.

Although the new album, UNIVERSAL LAWS, may not be as cohesive as its predecessor, it shows growth in terms of composition.

The Russian label ScentAir Records released it in 2013, and it is available on major music streaming platforms.

A video for the track ‘End of the Line’ and its ‘Making of’ can be found on YouTube.

To purchase the CD, which includes a 10-page booklet of lyrics and photos, for only 5 euros plus shipping, simply send me a message via the ‘Contact’ page.

You can read how and why I started to make music on the page Sir Joe Music


Unlike my usual approach to creating music where a song is born as a whole, this particular song is an exception. It was created by assembling three different ideas that had been lingering in my mind for weeks until I realized they could fit together with some adjustments.

I wrote the lyrics about a month later, aligning them with the song’s aggressive mood.

For the video, I enlisted the help of my friend Frank Stienen, who not only fronts the band EgoAmp but also dabbles in video projects. In July 2013, I flew to Dortmund and rented a theater in Bochum, where we spent a fun and enlightening day shooting scenes with some of Frank’s actor friends. These scenes were then edited to create the final video.

Even for this track I employed a distinct approach.

My curiosity led me to explore and assemble some Apple Logic Pro loops while listening to them. Upon discovering that I enjoyed the outcome, I decided to transform these sequences into a song, which resulted in what you hear now.

I aimed to emulate Seal’s style in “Crazy” for the vocal section of the chorus.

The genesis of this track can be traced back to its refrain, which was initially intended to be a component of an ambient instrumental piece that I conceived during a leisurely walk on the beach at Lido di Volano.

It remains my preferred selection on the album ‘Universal Laws,’ as it is the go-to track that I play when I am pressed for time but still want to listen to something from the album.

It appears that my friend Roman Radchenko shares my sentiment, as he opted to create a remix of this track as the closing piece for the album.

Although I feel that this track has untapped potential, I wasn’t able to fully utilize it during production.

However, I’m pleased with how I seamlessly linked the beginning of the track with the end of the preceding song, incorporating certain sounds and melodies that are later echoed here.

My fascination with certain parts of Asia and their music had reached a remarkable level by the end of 2012, even though I had not yet visited any Asian country. Thus, I saw an opportunity to create a new album and incorporate my love for those musical atmospheres into a track.

Around that time, I had acquired a software that allowed me to generate female vocals. “The Call” was the ideal track to test its capabilities, given its ethereal aura. I think “The Call” is the track in which I was most successful in blending lyrics and music.

The song’s ambiance evokes the image of an elderly man pondering by the calm waters of an ancient town, and I sought to capture that essence in the lyrics: “I was standing on my own, by the riverside of the town made of stone.”

Back in 2005, I came across several online articles advocating for the benefits of music recorded at 432 HZ, claiming that it could positively impact both mental and physical health. Intrigued by this concept, I made a promise to myself that I would compose a piece of music if the opportunity presented itself.

When I stumbled upon Propellerhead’s Reason software and learned that it allowed virtual instruments to be tuned to this frequency, I saw it as the perfect chance to create something. My goal was to produce a semi-instrumental track with the only lyrics being “Join the Omega revolution”, which was the title of one of the articles that had sparked my interest.

Rather than waiting around for inspiration to strike, I decided to use the melody from my first-ever Ensoniq SQ1 workstation recording, which dated back to 1994, as a starting point. From there, I added more sounds and layers until I had crafted the final version that you can now hear on the album.

I believe that this synth pop song, with the right touch from a renowned artist and improved production, could potentially be a radio sensation.

Although I have no recollection of the recording process, I distinctly recall coming up with the concept on my way back from an A-Ha concert in Munich. This notion remained scribbled on a notepad tucked away in a drawer for approximately ten years.

Both ‘The Universal Laws’ and ‘The Observer’ share many similarities, as they serve as the closing tracks for their respective albums, and serve as a lyrical summary of previous studies and experimentations. Additionally, the songs feature variations in tempo and atmosphere.

Regardless of whether one believes in the existence of the universal laws described in the songs, it’s undeniable that adopting an attitude centered around love and beauty can bring benefits to anyone. I have never met a cynic who, apart from considering himself smarter than others, was also happy.

My friend Frank Stienen not only directed the video for ‘End of the line‘ but also created a remix of the track with his project EgoAmp.

This remix has consistently been the most frequently played song from the album, as indicated by the monthly statistics provided by Spotify, which is a testament to Frank’s excellent work.

Roman Radchenko, a gifted musician from Russia, releases his music using the moniker Dark Phenomenon.

Upon a recommendation from Vladimir Romanov, the proprietor of ScentAir Records, I eagerly agreed to contact him about potentially remixing a track. Although “Time and Time Again” was a challenging song to rework, Roman demonstrated great skill in his approach.


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