You often describe your music as “absolute concrete music”. What does this term mean for you?

In essence, it means a deep dedication to sound as a “gate” to access our spirits / minds. Not in a theoretical or even theological way, but rather in a very direct and clear manner, that can be experienced by anyone without any prior musical knowledge.

You are also educated as a biologist. How does this influence your conception of music?

Basically, by giving me the opportunity to get immersed in exceptional natural sonic realities like rainforests, deserts, etc. Reality contains immense amounts of not only materials (i.e., sound recordings) but also, and more importantly, inspirational features. These might decisively affect our conceptions of pace, space, timbre qualities, dynamics, textures, etc. much more than any musical treaty or software.”

What are you key references. As we know Pierre Schaeffer and Michel Chion. Any other people?

Both Schaeffer, Chion and references in the general discussion and understanding of “musique concrète”, not so much in musical terms. As so many other sound artists I feel inspired by many different artists, but, in my case, also by “reality”. The influence of the latter – and its possible technological mutations – is what drives my work.

In which direction you want to develop further? How about your thoughts about the future of experimental electronic music?

I’m very bad at making predictions, so I won’t try to foresee the future of experimental music in general, other than saying that it’ll probably show features of the technological trends of the moment, as it has happened so far over the last fifty years or so. Personally, I’d like to be able to increase the level of engagement of the listeners by creating public (or private) situations that promote this, instead of the music spectacle.