Bodhialis is a return to something that started a long time ago. In the late 1980s, Christopher Siversen was recording original electronic music at Cove City Sound Studios on Long Island — repetitive bass, arpeggiators, Roland drum machines — before house music had fully found its name, in the same rooms where Taylor Dayne was cutting her debut album, with her hit single’s guitarist working as the engineer on his sessions. He was scheduled for Berklee College of Music for production and performance before life redirected him. The years that followed included absorbing the NYC club scene of the 90s as electronic music was being built in real rooms, in real time.

That history sat dormant for decades while Christopher built a career as a chef and restaurateur. But the sound never left. Raised in a household with wildly eclectic musical taste — Johnny Cash, Creedence Clearwater Revival, the Beach Boys, Stan Getz, classical, Jimmy Buffett — and shaped later by Radiohead, early Depeche Mode, New Order, The Cure, My Bloody Valentine, Tame Impala, Lush, and Slowdive, Christopher’s ear was always broader than any one lane. Bodhialis is where all of it finally converges — shoegaze atmosphere, post-punk melancholy, and a firsthand memory of house music’s earliest pulse.

Bodhialis debuted in 2026 with “Winter Drive,” a cinematic ambient piece built to be heard with headphones on, eyes closed. “Not Just Music” followed, moving into progressive and deep house territory with a stronger emotional hook, drawing early support from press and curators across Latin America and Europe. “Dark Moon” pushed further into melodic techno — darker, more driving, closer to the Afterlife sound — and landed the project’s first placement on a major curator playlist alongside Ben Böhmer, Lane 8, and ODESZA.

That room, that era, and that foundation are why Bodhialis sounds the way it does — not studied, but lived.