Videos, Podcasts & YouTube Mixes
Music comes to life through movement, emotion, and atmosphere. In these videos, Belgian composer Kris De Ruysscher invites you into his musical world — a space where sound shapes storytelling and emotion unfolds naturally.
From intimate piano passages to expansive cinematic textures, Kris’s compositions blend sensitivity with depth, creating soundscapes that resonate beyond the final note. Each video offers a glimpse into his creative voice: expressive, refined, and deeply human.
Whether written for concert performance, visual media, or personal reflection, his music seeks to connect — to linger — and to speak where words fall short.
Discover the sound. Experience the story.
AD INFINITUM: HOW SHORT IS TIME?
BY KRIS DE RUYSSCHER
“How short is time?” That question, borrowed from Dutch poet Hendrik Marsman, became the heartbeat of my new composition, Ad Infinitum. In this work, I explore time not as a measure, but as a sensation — elastic, fragile, and deeply human. I’ve even considered renaming it Ad Libitum. That openness reflects my creative intent: every listener, every musician, experiences time differently. What feels like a brief instant to one may feel like eternity to another.
The piece is built on minimalist, repetitive structures — yet each cycle breathes and transforms. Eight violinists pass fragmented melodic lines to one another, like a living organism in motion. The sound moves through space, shifting between tension and release, silence and vibration. Silence, for me, is as important as the notes themselves. In that space between sounds, time stretches, bends, and reveals its essence. Whether it remains Ad Infinitum or evolves into Ad Libitum, one truth remains: in every repetition lies a question, and in every silence, perhaps, an answer.
MIKAWA - Why I love Japan
BY KRIS DE RUYSSCHER
美川 (Mikawa) (2025) is a slow and meditative chamber work for alto and baritone saxophones with string trio, inspired by an essential and deeply personal visit to Japan.
The title Mikawa, meaning “beautiful river,” evokes both flowing water and the quiet continuity of time — a landscape not only external, but inward. It is dedicated to the small fisherman's village near Kanazawa. This restrained musical language reflects an experience of stillness, attention, and deep listening — qualities often encountered in Japanese aesthetics and in moments of meaningful human connection.
Mikawa is taken from the album “The Opposite Sax”.
ALIEN: ASCENSION
BY KRIS DE RUYSSCHER
On the world once shaped by gods, one human is left behind.
What remains is a vast, indifferent wilderness - gas, ice and fire, mountains and deserts, beauty without mercy.
A lone astronaut moves through this landscape like a ghost of a failed mission, the last echo of a crew that will never be named.
There is no signal, no answer, no promise of rescue. Only the long passage of time and the unbearable weight of knowing that survival has already lost its meaning.
As the frame pulls away from the man, from the planet, and finally into the depth of the galaxy itself, the story reveals its final cruelty: in a universe this vast, abandonment is the natural state of things.
This is a tale of exile and a slow surrender to the endless dark between the stars.
DYB TÅGE | Official Trailer | New Nordic Noir Series 2026
BY KRIS DE RUYSSCHER
Experience the chilling new atmosphere of DYB TÅGE. When a cold case resurfaces in the misty forests of Denmark, detective AKSEL VARGH and his team are pulled into a web of corruption, ancient grudges, and a silence that has lasted far too long.
A high-end luxury vehicle is found submerged in a remote bog near the Danish-German border, but it isn't the car that haunts the authorities. The absence of a body and the presence of a 20-year-old locket belonging to a girl who vanished in 2006 makes DYB TÅGE (Deep Mist) a psychological descent into how secrets erode a community over decades.
ROMEO (2026) | “Ticking Boxes”
BY KRIS DE RUYSSCHER
In Jennifer Guest’s soul-stirring film, ROMEO, a young boy with Asperger’s, views every interaction and environment through the lens of a meticulous set designer.
While the world around him often feels chaotic or sensory-overwhelming, Romeo finds order in his "stage." He is never seen without his weathered wooden box of props - a collection of seemingly mundane objects like copper wire, vintage keys, and translucent marbles - which he uses to "dress" his reality, transforming a sterile doctor’s office or a noisy playground into a space where he finally makes sense.
Guest’s direction is intimate and tactile, often using macro photography to show us the world as Romeo sees it. The music feels like a sigh held too long. It mirrors the loneliness Romeo often feels, yet it is shot through with moments of soaring, crystalline warmth that erupt whenever Romeo successfully "sets the scene."
YEUX DE MOTS (2023) | Espionage in Sound
BY KRIS DE RUYSSCHER
Yeux de Mots (Eyes of Words) is inspired by the iconic orchestral language of classic spy cinema, reimagined through a contemporary symphonic lens. The title itself is a wordplay on the French expression “jeux de mots” (play on words), replacing jeux (games) with yeux (eyes), suggesting a world where meaning is both spoken and watched, where language and perception constantly shift. The work draws on the atmosphere, elegance, and tension associated with espionage: what seems bold and confident on the surface is undercut by darker harmonic layers, hinting at betrayal and uncertainty beneath the spectacle.
Yeux de Mots transforms the energy of film music into a concert work that plays with ambiguity, turning the listener into both observer and participant in a symphonic thriller without images.
𒄑𒉈𒂵𒈩
Before Achilles. Before Odysseus. There was Gilgamesh. Carved into clay nearly four thousand years ago, the Epic of Gilgamesh is the oldest surviving epic in human history. It tells the story of a powerful but restless king of Uruk, his wild and luminous companion Enkidu, their battles against monstrous forces, the death that shatters him - and the long, existential journey in search of immortality. This work for orchestra and narrator is conceived as a Ballet in 12 Tablets because the original epic was preserved on twelve cuneiform clay tablets. Each “tablet” becomes a choreographic and musical tableau — a ritual fragment of myth, movement, and memory. Rather than narrating linearly, the ballet unfolds as a sequence of symbolic episodes: friendship, hubris, grief, flood, silence.
