If music is a journey, Tony Sieber has explored every possible route. From the high-voltage energy of Swiss metal and rock stages to the hallowed halls of Hollywood’s Musicians Institute, his career reads like a masterclass in sonic versatility. For decades, Tony has been the “architect of sound” behind the scenes—producing for global icons like DJ BoBo, scoring feature films, and engineering tracks that have shaped the European music scene.
But in 2023, after a period of creative reflection, Tony emerged with a new, deeply personal mission. Trading stadium distortion for “Ambient Guitar Tales” and dusty Lofi beats, he began creating what he calls “a warm blanket for the thoughts.” His transition has been nothing short of spectacular: over a million streams, “Best Album of the Year” accolades, and a global audience spanning over 200 countries.
Today, with his latest album Because We Are and the poignant new single “Holding On To Memories,” Tony Sieber invites us to take a deep breath and listen to the beauty of the quiet moments. We sat down with him to discuss his radical transformation, the philosophy of sound, and why the world needs dreamy landscapes now more than ever.
PART 1: Evolution and Transformation
Hi Tony! It’s a real pleasure to finally have this conversation. Your music—from those early rock roots to your latest atmospheric soundscapes—has a very special place in our community.
Hi! Thank you so much for having me and for the opportunity to share my story and my passion for sound. I’m very happy to be here!
Tony, your biography is striking for its contrasts: from the intensity of metal with “Cry Out” and the high energy of rock with “Big Red One” to the delicate, dreamy Lofi soundscapes you create today. How does your past experience with “loud” music and stadium tours influence the way you approach silence and minimalism in your current work?
It was incredibly exciting, of course, to stand on these stages as a young person and experience this. But you also had to deliver and withstand the pressure. You had to master your instrument and fit into the hierarchy of a band. You learn a lot, both personally and musically. With the great guitarists of the time as my role models, I quickly realized that the only way to get ahead was through hard work.
You studied at the prestigious Musicians Institute in Hollywood back in 1994, an era that was arguably the peak of guitar craftsmanship. What elements from that California experience do you still carry into your studio today when crafting modern atmospheric tracks?
I have always been interested in different styles. At MIT, I absorbed everything I could. Different techniques, grooves, from country music to jazz, from classical to rock. That gave me a good foundation, both in terms of playing and in music theory, notation, etc.
After a significant creative hiatus, you returned in 2023 with the album Ambient Guitar Tales. Was this break a period of re-evaluating the very essence of music for you? What specifically pushed you to shift your artistic direction toward contemplation and tranquility?
I had already made this transition much earlier. Back in the mid-nineties, I started producing atmospheric music. I had somehow lived through rock music. Then I got a commission to write the soundtrack for a multimedia show. I really enjoyed that and realized that I had a completely different sound slumbering inside me. I gradually developed this sound further and further.
Your new single “Holding On To Memories” is a tribute to your friend Alan and your time in Redondo Beach. It feels like your music acts as a form of time travel. Do you view the process of creating a track as a way to “preserve” memories that might otherwise fade away?
No, these memories will never fade anyway. I’m not someone who plans everything. I just let songs and moods arise naturally.
Many artists are afraid to radically change their genre, yet you transitioned successfully. Do you feel that your current audience “senses” the same musical roots as the fans of your early rock projects, or is this an entirely different type of emotional connection?
My listeners are either people who have developed further in their lives and have not stood still. But there are also many young listeners who identify with this lo-fi style. I think many are people like me, who are always curious about what life has to offer and who keep going and working on themselves.
PART 2: The Philosophy of Sound
In your mission statement, you mention that you aim to make the world a more beautiful place through music in a world that feels increasingly noisy. Do you believe that in the streaming era, music has evolved into a form of “digital therapy” for the listener?
I believe music has always been a way of putting oneself in a certain mood. Some people like it raw and brutal, others prefer it atmospheric. It certainly depends on one’s mood on a given day or stage of life. It’s a shame that music has become a mass-produced commodity.
Your tracks, such as “Somewhere Lofi,” are described as a “warm blanket for your thoughts.” When you are working on your guitar tone, are you searching for a technically perfect note, or is it more about a specific physical sensation of warmth that you want the listener to feel?
When I play my guitars, I usually don’t think, I just let it happen. Often, the first take is the best. I often even cut out notes in the final mix because there is too much information.
You’ve mentioned a love for creating not just music, but visual art and moving images as well. How important is synesthesia to your process? Do you “see” a landscape or a color first and then translate it into sound, or does the melody come first?
It’s not always the same. It depends on where I start. Often it’s a chord progression or a guitar riff. But it can also be a drum beat that triggers my intuition. Often it’s actually images, such as a beautiful place, a beach or a mountain peak, where I imagine myself and then the melodies or beats come naturally.
In your 2025 album Because We Are, there is a deep exploration of human connection. What does this title mean to you personally, especially given that your music is now being heard in over 200 countries?
The title means something like: “Because we exist, it is worth making something of it, acting consciously, doing good for ourselves and others, taking care of who we are and also taking risks so that we can continue to grow and explore.”
Lofi and Ambient are often categorized as “background music” for studying or working. However, your work is rich with layers and detail. Do you intentionally create music for the “background,” or do you hope for “deep listening” where every subtle detail is noticed?
As I said, for many people today, music is just background noise. That’s not the case for me. When I listen to music, I usually do so consciously. My music might sell even better if it were even more minimalistic. But I want a track to be listened to attentively and consciously and to remain interesting.
PART 3: Collaboration and Production Mastery
Your collaboration with Thomas Lemmer on “Moments Between” is a meeting of two masters of atmosphere. How does the creative exchange work between two producers when the goal is to leave enough “air” in the track without over-complicating it?
It works very naturally for us. We both have enough experience to know that it’s not about showing off. Thomas Lemmer is a super nice person and a top musician. It’s a great honor for me to work with him and we don’t have any ego problems at all.
You co-founded the production company H2U and have worked with a massive range of commercial artists and global brands like Coca-Cola and DJ BoBo. How does that high-level commercial experience assist you now that you are focusing on your own deeply personal and intimate solo projects?
Oh wow, you’ve done your research very well. That’s a completely different thing. I’m glad I’m no longer in the advertising business. Here, with my music, it’s all about enjoying music and living out a passion. Of course, I learned a lot as a producer of advertising and film. But this is much more relaxed and creative.
You have composed soundtracks for feature films like Cargo and Champions. Do you feel like a “director” when you are writing a solo album? Is there a hidden narrative or plot in your albums that you want the listeners to uncover?
No, every track has its own story. I think that with instrumental music, everyone hears their own story or sees their own images. And that’s a good thing. Otherwise, we get everything delivered to us ready-made. Here, we are free to interpret it as we wish.
Your discography includes projects like Kelta and albums inspired by travel, such as Himalayan Atmospheres. How important is geographic context to your creativity? Does the Swiss landscape find its way into your new Lofi works?
I don’t think so much. More like moments or feelings, experiences or longings. When I compose, I often find myself mentally at the beach or in nature. But that could be anywhere. I also like to mix the sound of the sea into my songs as an effect. It creates a beautiful sense of vastness.
Your album Ambient Guitar Tales was named “Best Album of the Year” on Echoes Radio in America. For a professional with such an extensive career, what do awards mean to you today? Are they a validation of your path, or simply a nice bonus to your millions of streams?
It was, of course, a great honor to receive such an award. It is a wonderful recognition that made me very happy.
PART 4: The Future and Personal Connection
The single “The Beauty of It (Reimagined)” is a pure dialogue between guitar and piano. In a world where AI can generate music in seconds, how critical is it for you to preserve “imperfect” human emotion in your recordings?
I sometimes tend towards perfectionism. However, I believe that it is very important to be authentic and not always strive for perfection.
You signed a contract with Sine Music in 2025. How has changing your label or professional environment impacted your creative freedom? Do you feel you are currently experiencing your most independent era as an artist?
I was very happy to sign with Sine Music, as Sine as an artist and Thomas Lemmer have long been among my favorites and have certainly influenced my style. I feel very free in what I do. But it’s also cool to get feedback from someone who knows the business. I feel I’m in good hands there.
With your music reaching people in over 200 countries, have you received any feedback from a listener that particularly moved you or perhaps even changed the way you view one of your own tracks?
I get a lot of feedback on social media. Of course, that always makes me very happy. When it comes to my music, I just follow my instincts.
Given your extensive background as a sound engineer, do you have a “golden rule” in the studio that you never break in order to keep the “magic” of a track alive?
No, every track is different. Every song needs something different. There is very little that always works.
Tony, looking ahead into 2026 and beyond: what new territory—either sonically or emotionally—are you looking to explore next? Is there something you feel you haven’t said yet through your guitar?
The new album “Tides Of Stillness” will be released in spring. The song “Holding On To Memories” is a pre-release single. It has many classic lo-fi songs, but also a few ambient songs on it. Let’s see where the future takes us. I’m always curious about new challenges.
Closing Thoughts
Tony Sieber’s journey is a testament to the fact that music is about following the resonance of your own heart. Whether through a roaring rock anthem or a quiet Lofi beat, his guitar continues to tell stories that transcend borders. We look forward to “Tides Of Stillness” and the many more soundscapes he has yet to share with the world.
P.S. If this conversation has inspired you to explore Tony’s sonic landscapes further, we invite you to read our detailed review of his standout track, “Somewhere Lofi.“
