Julius Sylvest

The beginning

Rhythm came first

My path into music began with drumsticks in the Tivoli Youth Guard. Marching percussion is about timing, precision and being part of something larger than your own instrument. That rhythmic discipline still underlies my work, even when the sound is far removed from a drum.

As a young musician, I performed with the guard at Parken for Rock’n’Royal, celebrating Frederik and Mary’s wedding. Later I found my own expression through electronic music, DJ sets and live performance. Moving from the guard to the club changed both the clothes and the music. The pulse stayed with me.

Clubs, festivals and Madrid

Music opened up the world

As a DJ and musician, I have performed at Roskilde Festival, Musik i Lejet and Jelling Musikfestival. Music has also taken me to India and Brazil, from Copacabana to a favela in Rio. Electronic bass, percussion, cumbia and other rhythmic languages have met in my sets.

In 2011, I took part in Red Bull Music Academy in Madrid. Canblaster and I started “ReadY” on the day we arrived. A few days later, we had a first version ready for a Boiler Room session. We continued working on it online afterwards, and it was released on the academy’s compilation of music created in Madrid.

That background is part of what I bring to a collaboration today: an ear for rhythm and an openness to what happens when different approaches meet.

Sonic College

From a rhythm to a world

At Sonic College, UC SYD, sound for storytelling became a subject of focused study. I completed my bachelor’s degree in sound design in January 2026, with a focus on spatial audio. Music remained part of it, while my attention expanded to voices, foley, atmospheres and the space a listener feels they occupy.

My bachelor project explored spatial sound in documentary film. Among the recordings was a passing train, which I worked with in both Dolby Atmos and binaural sound. A familiar everyday situation became a way to explore a deeper question: when do we experience a sound as a believable part of a place?

That curiosity follows me into the studio. A small movement, a sense of distance or a moment of silence can change how we experience an entire scene.

Film, music and stage

The same ear, new spaces

Today, those different strands meet in my work across film, TV, stage, podcasts and music. On Service Bus, I worked on sound design and composition with Jakob Brink in Dolby Atmos. On Wild Child, I was music assistant. Each project has its own task and its own team.

With stage work such as All the Feels, sound shares a room with an audience and a live performance again. My experience in music takes a different shape when sound and movement need to connect from moment to moment.

For me, the connection between the dance floor, the stage and the cinema is the audience’s attention. A rhythm can set a body in motion. A pause can make us listen more closely. I work with both.

Selected collaborations

• Den store julefortællingAdditional composition · music assistance
• All the FeelsSound design · surround mix · QLab
• Welcome to the MoonFoley · sound design
• Service BusSound design · composition · Dolby Atmos
• Wild ChildMusic assistant
• Kamp (The Match)Foley · sound design · mix