Drawing inspiration from the dynamic worlds of Hip-Hop and EDM, MedsE fuses these influences into his music, infusing it with experimental creativity. His artistic journey has been shaped by the innovative sounds of trailblazers like The Prodigy, Deadmau5, and the iconic figures of the Big Beat, EDM, and Tropical House scenes.
MedsE's musical odyssey extends beyond borders, connecting with artists and creators from South Africa to USA and Jamaica. This international network enriches his sonic palette, injecting a diverse range of cultural influences into his compositions.
His work is driven by a profound passion for dance music. It's a genre that transcends language and barriers, reflecting MedsE's belief in inviting individuals from all walks of life to unite on the dance floor. With the heavy pulse of synthesizers and infectious rhythms, MedsE's music becomes a conduit for people to release their positive energy through movement.
In every track, he strives to push the boundaries of sound, experimenting with unconventional beats and daring instrumentals. Each piece is a sonic exploration, a concerted effort to create a unique auditory experience that resonates deeply with listeners.
But his music is more than just sound; it's a journey. It's a journey through the streets of hip-hop, the pulsating heart of EDM festivals, and the serene landscapes of tropical house. It's a journey through emotions, taking the audience from introspection to elation with every note.
Music has been part of my life growing up. A house full of different instruments and ability to explore them a lot has been key. A lot of journeys through Europe with my parents being active in church choirs. Starting playing keyboard at 8 years old, moving to drums 9 at and playing guitar from age of 12.
Year 1987, I’m 6 years old. My father purchased an Atari 520ST and a synth with midi-ports.
This was my first contact with Cubase as DAW loaded from 3.5-Inch Floppy Discs. I would love to say I have been producing since then but that was only the starting point. To be followed by production iterations of various forms.
The sounds in the synth was kind of awful but the main idea of recording the midi information into the DAW was a real eye opener.
Reading manuals? No
Youtube? No Tube
VST and plugins? Only the sound from the synth and the sharp metronome from the Atari, Just trial and error, and it was truly play time.
I started to arrange disco events in my parents living room for me and my classmates when we were around 10 years of age and the official school dances (about 3 times a year) were only for the older kids. I could not wait another year to get into the school disco. Setting up A4 hand painted posters in the classroom of the events, and everyone in the class came to every event.
Laying down dj sets in with two external cd-players and using the amp switch tape/cd as “cross-not-fader”.
Borrowed cd’s from my 9 and 11 year older sister and brother granting with my life at stake that the discs were to be given back in the same condition.
Painted light bulbs with permanent markers to get the visual effects and a nest of cables with switches to the dj-booth (At the time a big leather chair) to be able to control the lights.
Built a LEGO foundation holding a christmas ball shaped like a classic disco ball and a mounted flashlight next to it actually worked out nice.
In highschool I got more and more interested in the concept and mystique of music production with midi files but mainly mod files.
But never really got into it until around 1998 when I got the chance to try out Propellerheads Rebirth and started emulating the sound of Roland TB-303, now I was speechless.
Later on testing out the full version of Propellerhead Reason and I knew that this was something I wanted to explore more. At this time, still in school, with close to no money I could never afford the license of this beautiful DAW and the dream of producing and the tracks made never left the hard drive.
At the same time me and a friend started to DJ at our older siblings birthday parties and even a wedding.
Renting all the lights and putting all the sound gear we had together.
The last party we did together was the Y2K party.
I doubt that no one attending the party remembers anything from the celebrations, and by that I mean not remembered anything even the day after the party.
During my time at college I gave music production a lot of different tries.
Cakewalk, Cubase, FruityLoops (FL Studio), and of course Propellerhead Reason and the subtractor polyphonic synthesizer.
My second day at the college, new in town, I knew I should look up a student pub and join the student society (called Nations) for the pub.
This was a real club with all the real gear in a real dj-booth.
Two days later I auditioned as resident dj and got in.
Two year after this I was head of the dj squad holding introductions for new people that were curious of what it meant to be a dj.
Fun memories from when getting yelled at, from the chief in the bar, that we must stop playing this music because they are not selling anything in the bar.
I knew that I was doing a good job as a DJ then.
In 2005 I moved to Stockholm and started my first real job. With friends from Highschool now studying at the neighboring city of Uppsala I got into dj-ing at much bigger clubs and much bigger events. Playing at the world's largest student nation.
I started to be part of a dj crew running a club “It’s all good” at a place called ÖG in Uppsala and we had a true enthusiast community gathered at every month of playing.
For this club I made my first bootleg mashup remix that got to be the track for the club and the crew. The community and crowd required the track to be part of every event.