Photo courtesy of Léon van Hulst

Childhood and School 

   I was born in 1993 in Carshalton, Merton in London, England. I am half Thai - mother from Thailand, father is British. I am fluent in both English and Thai. 
Still to this day, I live just a few miles from my birth place down in Wimbledon. Yes, where the tennis happens. I love this part of London. It's the perfect mix of city-life and urban sprawl combined with nature, greenery and some peace and quiet when you need it. Central London is a short train ride away so the connections are perfect. I'll be honest - I can't imagine myself ever living in the countryside. 

   There are certain interests I've had ever since I was very young. Computers and a general facination with technology instantly comes to mind.
   When I was younger, my father used to have a business building computers for people. I remember helping out by starting with the 'easy bits' like fitting the feet onto the casing. As time went by, I helped install larger, more substantial parts like the power supply and motherboards. I naturally picked up the inner workings of how computers work and how they fit together. Whenever I had questions, my father was there to answer. I ended up building my first computer when I was 12, with only a little help. For the time, it was a very powerful piece of work. I was so proud of it. It felt like I had put together some sort of super computer.
Okay, maybe not. But when you're that young - you want to feel like you've built a supercomputer! It was on this computer where I began my first experiments with audio engineering, production and songwriting.

In terms of software - I started out with Steinberg's Cubase. But when you're that young facing such complex software with a steep learning curve and not enough patience to figure it all out - not much ever came of my attempts at music making at that time. 
   I ended up using this computer for around 4 years or so until I began to make my transition over to using Apple computers. I started out with an Apple Mac Mini in 2006. I was lucky enough to find out that we had a family friend who was kind enough to let us borrow it. I was so excited to begin experimenting with using Macs. It wasn't until 2007 that I really began to get to grips with using Apple computers and Apple's Logic Pro software (at the time, version 7) as I was being taught how to use Logic Pro at school for my GCSE course in Music. Little did I know that this would be one of the most valuable skills I'd ever pick up in school...
Thinking back to how Logic looked back then with it's clunky, awkward aesthetics. Certainly much nicer on the eys these days! I mean, look at this below. This is what I would spend hours staring at!
   It doesn't take long for interest to turn into obsession. This was certainly the case with regards to working with music technology on computers. Once I was given the base knowledge and overcame specific learning curves, I instantly saw the potential of using Logic Pro. So much so, I even thought it was too good to be true. Before this, I had never written a song in my life. Next thing I knew, I was churning them out. Granted, they were terrible. But none-of-the-less, it paved the way for my continued use of Apple's Logic Pro software and still to this day, I continue to use it for writing, recording and mixing music. Some of the material written in that period went onto becoming embryonic contributions towards KYROS' first album, 'Synaesthesia'. 
  Unfortunutely, as the Mac Mini was on loan, it eventually had to make its way back to its rightful owner. This meant I could no longer work on music away from school. As a result, I spent every oppotunity I had at school working on music. I stayed late nearly every day, spent all break times in the music room and eventually managed to worm my way out of games and PE lessons to spend time on music. Kinda sneaky. But it was worth it just to feel the joy and reward of writing music.
   Whilst going through GCSEs at school, I also briefly undertook piano tuition. Although it didn't take long for these lessons to turn into 'here's what I wrote this week' sessions where my piano tutor would listen and give feedback and constructive criticism. I ended up enjoying this much more than piano lessons. But it must be said - this wasn't due to the tutor, but simply because I've never been one for instrument tuition. I don't enjoy it and never have. I taught myself how to play the instruments I play as I much prefer to spend my own time learning and picking up skills than following set guidelines, grading systems and rules. I find I learn much more efficiently if I teach myself by doing my own research in my own time at my own pace. Regardless, these sessions played a huge part in motivating me and I continued pursuing my songwriting and composition with much ambition.
   It was my piano teacher who told me about The BRIT School of Performing Arts and Technology. Before then, I had never heard of it. But had definitely heard of many the names on it's alumni list. Amy Winehouse, Imogen Heap and Adele to name a few. I had also heard of the BRIT Awards, run by the same organisation/charity - the British Record Industry Trust. She told me about the Music course they do there. It sounded like some form of heaven.
   As I was coming to the end of my time at secondary school and my GCSEs, it was time to begin looking for colleges to apply for. BRIT was definitely at the top of that list.
  Fast forward to the end of secondary school with GCSEs over - after a nerve-wrenching application, audition and interview process at BRIT where they watered down hundreds of applicants to an intake of approximately thirty, I was hugely grateful to eventually find out that I was accepted onto the course. My audition piece was an arrangment I made of 'Butterflies and Hurricanes' by Muse.

Studying at The BRIT School

   It was within my time at BRIT that I really began to take music composition seriously. Amongst many other modules within the broad BTEC degree in Music, we studied songwriting techniques which only helped push things in the right direction. Difference is, whilst everyone else was writing pop and soul music - I decided to go down the route of writing weird, experimental and progressive music with lots of time signatures, strange sounds and  irregular structures. It was here where my first set of completed songs for the eventual 'Synaesthesia' began life. KYROS tracks like 'Epiphany' and 'When The Clock Strikes Twelve' began life at The BRIT School.
   At the time, I had no real mission to go out there and start a band. No real mission to even get out there as a gigging musician. I just carried on... doing my thing. Seeing where it would take me.
It was also at The BRIT School where I had my first experience using Pro Tools within a studio setting.
   At BRIT, my main instruments were piano and drums. Both instruments were self taught (I have been playing the Piano since I was 10, drums since I was 14). I hadn't yet begun experimenting with singing (that wasn't until it came to recording the demos for the debut KYROS album). Apart from at home, crudely singing along to my favourite Spock's Beard songs...
  Just like school, I ended up spending break periods at the computers working on music and even stayed until late, sometimes right up until the cleaners came in. The cleaners would be my sign that it was probably time to go home.
   I learned many valuable lessons at BRIT.
It helped shaped me into the person I am today. Although I certainly didn't 'fit in' with the crowd, the skills and experiences I picked up are of great value and mean the world to me.
   I picked up much of my confidence in performing at BRIT, as regular concerts were held. Everyone on the course had a chance to perform. Sometimes I performed on the drums, but most of the time on the keyboard. I'm grateful that I was given the oppotunity to perform in front of such a wide range of audiences ranging from small canteen shows to full-blown productions infront of a few hundred people. One of my favourites was performing Crosby and Nash's 'To The Last Whale' on keyboards for a musical theatre production in front of a dozen hundred children at the Bloomsbury Theatre (pictured left). That was an interesting experience. Beautiful song.
There's me tucked away behind the keyboards on the right!

University and
the birth of the band

After college, I moved up to Oakwood in north London to live on the Trent Park campus of Middlesex University. I decided to continue with higher education by undertaking the Bachelor of Arts honours degree in Popular Music. I decided to go with the Popular Music degree as this was very much within the realm of what I was interested in continuing to learn more about.
Although I must stress - it ISN'T what it says on the tin! But rather a further dive into music from the 20th century onwards as well as brief looks at pre-20th century western art music, the music business, copyrights and contracts, industry and culture influences across the globe, analysis and semiotics, music technologies, songwriting, composition and performance. You get the gist. Within my third year at Middlesex University, I also attended the 'Music in Film and Television' lectures even though this was not on my course and I was not to be graded on this.
Oakwood Tube Station - many memories here
University was where I really felt like my overall confidence grew. For what felt like the first time in my life, I could be myself and express myself freely as there were many others around me who shared similar tastes and interests. It was at university where I met my good friend, Nikolas who went onto the become the co-founder of KYROS, and Sam who also went onto later join the band in third year.
Given that I was able to spread my wings in first year, and having met Nikolas who helped motivate me in so many ways - I went on to write the rest of what would become KYROS's debut album. I typically made the journey from Oakwood to Wimbledon, north London to south nearly every weekend to write and record. Nikolas would often come down with me so we could work on guitar parts together.
From left to right, Nikolas, Sam and good friend Haydn in a rehearsal room. We were preparing for a performance assignment.
By the time I had reached the beginning of my second year at university, the album was complete and I finally felt ready to begin hitting hard on getting myself out there. Not in terms of gigging, but in terms of internet presence and seeking a record deal. I felt that this was the correct way to go. I began researching day and night, tracking down email addresses and sending emails out to record labels, music executives, A&R and also tracking down people who would review the music.
Nikolas standing on the roof of our halls building
 I quickly grew a small following on the original 'Adam Warne Music' facebook page before I decided to rename the project. It went through a number of brief name iterations. For a short period, the project was refered to as 'Chromology' and the debut album was due to be called 'Time, Tension and Intervention' but I later decided on naming the project, 'Synaesthesia' and self-titling the debut album. I heard one of my lecturers say the word on day one of second year and liked the sound of it so I noted it down. When it finally came to giving a name, that was the word I went with. Although we later went onto renaming the band due to multiple reasons, I'm happy that at least the roots live on in the form of the debut album's title.
For a short period, the project
        was refered to as 'Chromology'.
The debut album was due to be called 'Time, Tension and Intervention'.
When I was growing up, my father would regularly listen to bands such as Camel, Jadis and Genesis, as well as plenty of Trevor Horn stuff like Frankie Goes to Hollywood and Propaganda. Meanwhile, my mother listened to stuff like Bon Jovi and Scorpions.
When I met Dream Theater in 2009
It wasn't until my father discovered IQ that I equally began to really fall in love Progressive music and the scene. I got to know IQ's discography at the same time as my father. As well as Dream Theater, Rush, and Spock's Beard, IQ were one of the big ones I became obsessed with throughout my teenage years and they ended up being the first band I ever saw live in concert. The IQ Christmas Bash of '07 at the Astoria 2 was the first gig I ever attended. That place was eventually knocked down and is now Tottenham Court Road Crossrail station. Very sad indeed.
I remember seeing two record labels pop up regularly within that time. InsideOut and Giant Electric Pea (or 'GEP'). As IQ was by far peaking my interest within those years, I quickly learned that GEP was run by Michael Holmes who is the guitarist of IQ. So it's no surprise that when it came to sending my music off to record labels, GEP were at the top of the list. Much to my surprise, I later received a reply from Michael Holmes himself!
We got together before the London IQ Christmas Bash of 2012 to discuss the possibility of working together. Things went positively and the deal was agreed and signed in early 2013.
The debut album I wrote with the help of Nikolas eventually went onto be re-recorded under the guidance and help of Michael and with much respected engineer, Rob Aubrey. The official release was in January 2014 to much critical acclaim within the progressive rock scene. The album received many positive reviews and a great reaction.
Within the time of recording the album - Nikolas unfortunutely had to leave the project due to a number of other bands he is involved with, plus the fact that he lives in Norway didn't help!
As I wanted to bring the music out to shows and start performing with a band, I went onto completing the line up with bringing in Ollie Hannifan and Sam Higgins on guitars, Peter Episcopo on the bass and Robin Johnson on drums.
Ollie later left the band due to his continued work with the Mamma Mia stage production and was later replaced by Joey Frevola to form the current complete line up. The band has gone on to support big acts such as Marillion, Anathema and BigElf, performed at RoSfest in the USA and toured sixteen dates across Europe with Spock's Beard. We have also since signed onto a management deal with AAUK Music and are managed by Graham Collins. Here's to the future!
In the second half of 2015, we went on to unfortunutely part ways with GEP whilst working on the second album due to creative differences. But it must be stressed, I will forever be grateful for the position GEP helped put myself and the rest of the band in. We worked very closely with Michael and the rest of IQ, supporting them a couple times and those times are hugely special to me. The guidance and the help we received back then shaped myself and the band into where we are today. 
From left to right; Manager, Graham Collins of AAUK. Sam, Peter, myself, Robin and Joey.
Photo courtesy of Dean Nelson // L-R Joey Frevola, Dean Nelson (Kyros' tech manager), Sam Higgins, Robin Johnson, myself and Peter Episcopo

Where am I now?

These days, I spend the majority of my time mixing and finalising the new KYROS album. The album is due to be independently released in the first half of 2016 in partnership with AAUK Music. This will be our first professional independent release and will surely determine the future path we will take. We recently made our first independent release, entitled 'Beta'. This is an EP containing three work-in-progress songs which will be on the 'Vox Humana' album, and three demos from the early Synaesthesia days before signing onto GEP. The EP was mixed overnight within an eighteen hour period, but that's a story for another day... All proceeds from the EP are going towards funding the album pressing, distribution and promotion.
Our latest set of shows was our support slot for Spock's Beard where we performed sixteen shows across Europe. Since then, we have decided to focus our efforts on the album and setting up the future. 
For more information on the band and album work - head over to the music section of this website. You can also still order a copy of the 'Beta' EP from KYROS' online store . Number are now running very low as we are down to the last few so if you would like a copy - do place an order as soon as possible.
I am now 22 years of age and still continue to live in Wimbledon although I plan on moving out with my fiancé within the next few years into a place of our own. The dream is to one day move down to Brighton and set our lives up there. But for now, London is our home.
I met my fiancé, Rebecca in first year of university where we instantly hit it off and became close friends. This very quickly evolved into a relationship and we ended up living together in our second and third year of university. I proposed to Rebecca on stage at the end of our support slot at the IQ Christmas Bash of 2014 in The Boerderij, Zoetermeer, The Netherlands.  We are currently planning a wedding for July of 2018.
When I'm not working all sorts of crazy hours on projects or with the band, I spend all my available free time with Rebecca. She is the love of my life, my partner in crime, my other half and my best friend. 
In terms of a 'day job' - I regularly spend time working at the offices for . Ultimarc specialise in arcade control parts such as joysticks, push buttons and control circuitry to aid in building arcade cabinets. I typically spend the day assembling parts, programming chips and boards, packaging orders and generally being another pair of helpful hands. It's flexible work, brings in some money and allows me to continue my music work in the evenings and late at night.
End of tour picture with Spock's Beard, Special Providence and all the crew.
Thanks to Graham Collins for the photo.