With The Versailles Sessions you moved from working with samples of modern classical works to collaborating and writing for the actual musicians. Tell us about that experience.
It was different in the sense that the sound sources i worked from where of a very specific period, the baroque in this case. I didn’t write anything for the musicians, we recorded their interpretations of baroque period music from lully, couperin, pourcel, etc, in a conventional way first but then we started experimenting modifying the score, it’s tempo, pitch, inserting random pauses, etc, and at the end we ended up throwing all sorts of material inside the harpsichord and pounding on the viola da gamba’s body. So a wide spectrum was explored.
How did your sound evolve over the years?
I got gradually more and more interested in texture and less in beat, but the best way to answer your question is for you to listen to the albums in a chronological manner.
I apologize for being impatient, but when is Océano coming out already?
I’m afraid not very soon, no specific date yet, all I can promise is that i will do my very best and hopefully it will be worth the wait.
As the albums continue to be named in a series of the initials from your alias, how would you define or name the overall project?
Like a personal diary, open for review to anyone who’s interested.
And what happens after ‘F’?
Not sure yet, change to another alias perhaps? I’ll find another excuse to continue making music, that’s for sure, as long as inspiration is present the rest comes almost by itself.
