BIOGRAPHY

In the middle of the 80:s Fredrik grew up in the western parts of Sweden, in a family where music always were encouraged and exercised. But it wasn’t until high school where he found the two branches he really would stick with; singing and producing/composing. Both quickly becoming more than just hobbies.

In Fredrik’s head, the truly skilled singers probably were opera singers, so via his violast brother at GöteborgsOperan he contacted his first vocal coach right after high school. Next step was two years of music and singing education at Hjo Folkhögskola – and from there it just seemed like a good idea to apply for music teacher and vocal coach studies at Gothenburg University, so that’s what he did.

Four and a half years of full time studies in Gothenburg gave among other things expanded skills both in voice and music theory, great perspective on music, education et.c. However as the years passed it also became clear to Fredrik that he primarily wanted to work as an artist himself.

Since around 2011 Fredrik has concentrated on opera with instruction from tenor and vocal coach Sten Sjöstedt. In the meantime Fredrik has been freelancing mostly in Gothenburg and the south-western parts of Sweden. He has a massive amount of experience of solo concerts for example in churches, where he also has performed oratorios and masses. As a choir singer he has performed for exmple Puccini’s Turandot and Verdi’s Simon Boccanegra at GöteborgsOperan.

Actually, my musicianship seemed to have ended, putting the violin down for good at the later part of primary school. But a couple of years later I discovered how much fun I had singing when I incidentally found myself in the middle of the recording of the Swedish official song for UEFA EURO 2004. Singing with thousands of other football fans in a game between Sweden and England.

FJ

The composing and producing career began not primarily with storytelling in mind or with idolizing a successful film composer, but with the music genre trance which for a couple of years was the perhaps primary musical influence. When exploring his taste and coming up with alternative melodies or harmonies to songs, there shortly was an idea that simply couldn’t be ignored. Soon the first MIDI-keyboard and DAW was in place.

After music theory came crashing in, it was just a matter of time before he would lean more towards composing soundtrack music. Under the immense influence of several of Nobuo Uematsu’s Final Fantasy scores and later Jeremy Soule’s scores for The Elder Scrolls games it was like coming home, composing music for film and games – to be part of something greater and to help telling a story.

I clearly remember the feeling when I showed my brothers the first couple of soundtrack pieces I wrote with just the Sibelius 6 software. I felt like a hero.

FJ