About the creative process of the album...

I don't think I've ever created such a spontaneous record. What I did was improvise from the guitar timbres/processing ideas that came up. Everything is improvised. What I did was select excerpts that I liked the most. My only concern was to generate moods, soundscapes that could sound interesting and serve some image. In fact, these songs for me are images, scenarios. From there, I could extract paintings, sets, films, narratives, or entire cities. Like Italo Calvino's Invisible Cities or even those Star Wars worlds.

In many cases, I recorded a loop with a musical idea that became the rhythmic structure or bed of the piece from which I developed the other ideas. Delays were used a lot on practically the entire record. Reverbs built a fundamental sonic identity for the entire album. They set the mood, determine the space where the music itself will take place. In Micro Space, some glitches are generated by processing the guitar's timbre. They are insects, aquatic spiders... For me, what marks this album is its experimental character and the attitude that I proposed to face the risk, launching myself in new paths for me, without knowing what the result would be. A search for something new has always been present, whether in a choice of timbre, in a melodic or harmonic path. In Psycho investigation, I use a feature that only exists on my Moog Guitar: the VO Power, which allows infinite sustaining of sounds. This helped me create long drones while the noisy and random glitches drew a more rhythmic outline of events. Another resource used was the e-bow (electric arc). Also with the property of sustaining the notes, but in Space Ants with a more aggressive timbre, the e-bow stitches the track from beginning to end processed by the tremolo effect. In Moon Tracker , the e-bow still commands... Mind Desert brings reverse effects, loops and delays. A piece made with the "leftovers" of sound. In Taking off the game is with rhythmic patterns over long notes.