I don't just hear music. I see it through the lens. For me every sound has its own texture: grain, contrast, light cutting through smoke, a moment that isn't perfect but is real. That's the grunge feeling that always pulls me back: honest, raw, a little “dirty”, but with soul.

Over the years I've tried everything. From digital cameras to analogue film simulations, from tripods to handheld shots that shake the frame just enough to feel the pulse. I was never interested in sterile perfection. I'm after the moment when the visual looks as if the music shot it by itself. Sometimes that means letting the grain spill over the image, sometimes letting the colours fade like an old street poster. But there's always intent.

There's order in that “mess”. Trends change: today it's VHS effects and glitch transitions, 16:9 turns into 4:3 and back again. What stays is the feeling. Behind every shot I try to find what makes sound visible. If a song is aggressive, the shot will be close, harshly lit, maybe overexposed. If it's melancholic, I let the shadows eat half the frame. It all depends on emotion, not on rules.

When I shoot music videos and concert videos, I like to mix old methods with modern tricks. Grain, light flares, double exposure, frame-skipping: things that used to be technical mistakes are now part of the style. I use them as tools, not decoration. Combine them with a good sense of rhythm and the visual starts to “breathe” with the song.

Grunge gave me freedom. It taught me that it doesn't matter whether you have perfect light or the most expensive gear. What matters is catching the energy. That energy is what the audience recognises, even when they can't explain it. When a shot looks a bit messy but makes sense, it becomes honest.

Sometimes I think every video I make is trying to answer the same question: what does your sound actually look like? And the answer is never the same. Sometimes it's an explosion of colour, sometimes just a flicker of light in a hall. Every song has its own visual character, and my job is to discover it, not invent it.

In the end it all comes down to feeling. To that moment when the frame, the light and the tone come together and you can no longer tell where the music ends and the image begins. I look for that moment every time I step behind the camera.