I’m a geologist/engineer/working in Japan since 10 years.I had work all over the world and i recommend traveling travel in your life. My company is www.rascor.com. Music is is a way to find the art life, the respect and the beauty of that discipline have move entire people and country.

Japan is my second home and Japan have accept me as simple gaijin as “enna gaijin”.

The music has returned to be part of my life after 25 years from my early 80s when I was a student at the University of Geneva. With a colleague of studies I invented a mathematical model that could elaborate music extracted from baroque instruments and harpsichord.

I decided to include this mathematical model within the “Gate Project” I developed in Italy with the composer Christian Carlino DeLord. This mathematical model applied to music remains a secret between me and my colleague, with whom I am still concerned with the development and preservation of natural heritage.


At the beginning of 2011 I was contacted by the famous producer Joey Carbone who proposed to take under the management the Italian-Japanese artist Sebastiano Serafini. All this following the devastating earthquake of 2011 that struck Japan that year. I was there and the situation was catastrophic. Joey could not continue to follow Sebastiano Serafini.

With great courage I accepted the proposal and started working with Sebastiano as he wanted to produce her first album as a singer. From that time on, I began to know many artists and to work more and more in the world of music entertainment.
Thanks to the collaboration with Sebastiano Serafini and the blogger “La Carmina” I became acquainted with an Italian band that at the time played visual-kei, they called Dreams not Reality. (Nowadays no longer exist because they have had divergences as often happens in bands where the group does not have a real leader).

Apart from this, however, I managed to get Dreams not Reality a contract with the V-Rock Festival in Tokyo and Meguro and on 23 and 25 October 2011 they performed together with some of Japan’s most influential visual-kei bands. For me it was a huge achievement as I succeeded in bringing my first visual-kei band to perform in Japan.
In January 2012 it was recorded the only album the band called “Tokyo Disorder” which is currently available exclusively on my website as it was entirely produced by me and when the band broke up would not hear of publishing it.

The album “Tokyo Disorder” was recorded a few weeks before the Dreams not Reality performed at the Akasaka Tokyo Stilish Wave Gen2 Festival at the Akasaka Blitz Arena. A very important festival with which he also participated with the band, former guitarist of Bizarre Cinema “Yu Phoenix”, who was at that time in Management at Tokyo.
Then I continued to work with Yu Phoenix to Tokyo and he and Sebastiano Serafini made some collaborations through the agency “Cool Japan”, well known in Japan for the music industry.

It was a pity that Dreams not Reality, despite all the commitment and resources employed, decided to leave. It’s life. They might have an unexpected international success.


In the same year I was contacted by Paul Sears to work with an Italian band who is about to launch a very interesting project and British flavor. The band was called “The Plasters”.

In that year, together with the Plasters, I worked on producing the video clip “Into the Ocean” as well as various live in Italy and London. The band got a huge audience success and I could concentrate on a new proposal coming from overseas.
In the same year I was contacted by Paul Sears to work with an Italian band who is about to launch a very interesting project and British flavor. The band was called “The Plasters”.

In that year, together with the Plasters, I worked on producing the video clip “Into the Ocean” as well as various live in Italy and London. The band gained enormous public success and also performed on the stage of the Edison Contest, a very important event for 2012 in Italy. Meanwhile, After assisting the Plasters in their music track, the guitarist of “The Birthday Massacre” had introduced me to a band overseas to follow, a very interesting new and exciting band.
He introduced me to a very interesting and special band, they called A.P.E. (Primitive Evolution), a Canadian band with whom I still work for Management in Europe and Asia. I was very happy to work with them because they are a band that I respect very much.

In 2013 I contacted the keyboard player of the Negramaro band in Italy and produced the remix of the A.P.E. “Lord of Reason”, which was successful in Canada and Europe. The moment was good to bring the band to perform in Italy. At first, only Brett Carruthers singer performs in some acoustic live in Italy and in particular in Modena and Parma.

From that moment on, the band began to be known in Italy for their scratching and very special sound, which still marks them in the world music scene.
At the beginning of 2014 I got in touch, always in Italy, with the composer Christian Carlino DeLord that I was not able to meet at the time of the Dreams not Reality disc production because he was no longer part of it. In fact until 2010 he was the band’s keyboardist and added that style touch to the band that after him missed a lot.

I had however promised to get in touch with him to do something together when the time would be ripe.


The opportunity did not fail and thanks to DeLord I managed to get in touch with Red Ronnie and her famous RoxyBar television program. In that year I had under management another very interesting Canadian band with whom I had produced an album, they called “Squid Lid”.

Thanks to DeLord, Squid Lid performed in Italy at RoxyBar and was interviewed by Red Ronnie, from whom he received numerous awards and could promote their “Tackle Box” disk where I participated as a song arranger.
After the Squid Lid show in Italy I began to collaborate with DeLord and to work on a cultural project that I had in mind for over 30 years.

So in January 2015 we started working in Switzerland for the project and its evolution. What I had in mind had not yet been done in the music world: create the first music-series. That is to produce the music of a project as if it were a television series but applied to a musical project that could have many declinations.
Gradually the project began to take shape and after several sleepless nights spent to discuss and confront on various cultural issues, we decided to call the “Gate” project.

In June 2015, filming of the first three videoclip of the project began, which consisted of the realization of nine video clips and a subsequent short film, created by reworking the video clips and some unpublished scenes that we decided not to use for video clips.
For the first part of the project they were attended by the Japanese kimono model “Aya Shimotani” and the Thai model “Chen Witoong” as the purpose of this first part was filming the meeting of Japanese culture in Italy.
We released this first part as “Gate Part 1” in October 2015. It was a huge success in Italy and we received some interviews from national newspapers and magazines.
To introduce a link between Japan and Italy, which would be the protagonists of the second part of the “Gate” project, we chose to shoot a new video clip in Italy together with the actress “Maya Murofushi” already known in Italy for her participation in Some cultural programs aired on the MTV channel.

We chose Modena as a location to tell how a casual encounter can give birth to a long-lasting friendship regardless of distance. On that occasion we also introduced the Swiss pianist “Kilian Rissone” which would later become the second chapter in the project.
Then we flew to Japan to shoot scenes of the second chapter of the project and in February 2016 we were in Tokyo to shoot the project on the theme of Italian culture that meets the Japanese in many of its facets, trying to highlight how the impact could be of a nation like Japan for a Western who visited her for the first time.
This part of the project has been published as “Gate Part 2” and has received over 300,000 views on the Social Network confirming that our project is cultural, breaking people.

In addition to me and DeLord, the “Gate Part 2” has also participated, including the actress Swiss pianist “Kilian Rissone”, “Kaori Nagaba”, “Maya Murofushi”, again “Aya Shimotani” and Dj “Atsuko Hanada “who together with Kaori are part of the image image duo of Tokyo.

To end the project we needed to focus on nature and the contrast with the world of robots that was coming, and so we chose Switzerland and its pristine valleys to show how much nature, in spite of everything, is always there to remind us how much it is necessary to respect it And preserve it.
To realize the third and last chapter of Gate, I chose to work directly with DeLord and film firsthand all the images of the project to tell from our point of view what it means to protect nature and respect what we have most precious on this planet .

In August 2016 we traveled together from Switzerland, through Germany, passing through Denmark to reach Gothenburg in Sweden to film the sunset light that can only be found in those heights and in the northern countries.

We had decided to show this particular thing in the third chapter videos to represent the right contrast between nature conservation and the one who is slowly destroying it. Along with this, we added the Robots that make us ask a single question: will we be able to make the robot useful to man and symbolize nature itself? Will we be able to preserve what we have been and will we be? And how can be possible one day vote a government can take care of the new robotics AI will coming soon… private can be able to take care and if yes who can control the industry made robots and AI… I think only the vote of citizen can take care of that revolution because digitalization AI without development mean disaster that why we need vote for a parallel new era government have the democratic way to be represent human instead AI.!!

“Gate Part 3” is the chapter that completes a production work lasting over two years in which we wanted to focus our efforts on culture and its spread to counteract this time of decay that we are experiencing.

For me, the Gate project represents the confirmation, almost after 30 years, that what I had accomplished in the 1980s with my colleague in Geneva could revolutionize the way of making music.

I currently work with several artists from around the world to create projects, share music and make the world a better place thanks to my commitment to landscape and culture conservation project