It was dark, and different creatures of different colours were floating and shining all around. I can’t say if they were actually producing a sound or if only I could hear it, but it felt as if those images were the natural representation of music. I could see it moving in the space and becoming concrete around me. This changed a lot my perspective about sound and visuals. It's like that, one cannot exist without the other.

When I first came to Europe, I got more in touch with audiovisuals and performance. I started doing visuals for some friends and, through these collaborations, I got more into the audio recording and processing. I got a tremendous amount of musical input from them. They guided and supported me to follow and develop my own musical path by giving me suggestions, softwares and devices until I would just translate the sound from the images I produced. To be honest, I don't know if I would've ever produced my records if it weren't for my best friends. Actually, they are part of my own world, and they interact a lot with my creative process – contributing to making it real.

Chinabot contacted me and proposed to publish a tape with them. I thought that would be cool, and I accepted. I love the project. I love their vision about music.

In some aspects, you could say they are connected: the beginning of Sabiwa is a sort of genesis — everything starts from water drops to evolve in organic texture. 輪迴 is the passage to the next body, and also, it recalls to water and primordial elements in different parts.
Sonically, I can say they represent my personal ‘music’ evolution. My first EP was released so naturally – just editing some recordings, trying to express my approach to the sound. 輪迴 represents something more complex and mature. I let myself be totally free about composition, form and process. I developed the techniques I used for the first one introducing a lot of granular syntheses, which allowed me to give that kind of fragmentation soul to the tracks.

I think sound evolves as a result of practice; I would say I mostly changed the structural thinking of my compositional process. 輪迴 is more abstract, and I let myself go more into experimenting. In Sabiwa, you can recognize a more distinct ‘song’ form, and also the sonority is less dark generally.

The main inspiration is always the concept of identity, in different ways and forms. What can be described as an identity? That's what particularly fascinates me.

Next, I am gonna explore colours and constellations.

I don’t think music can be described by words at all. That’s the best thing about it.

To collect the material I used in the production of 輪迴, I was with two friends on a lake around Berlin and recorded space and mud. Then, I basically started editing the audio materials, processing them, and combining it with other recordings. I played with the sounds for around one week and I produced a lot of samples. After that, I started to work on composition and structure.

I started as a visual artist – I do paintings and videos. I just feel it’s natural to somehow extract the sound from the images.

It represents the trip; landscapes are gradually melting, fading in each other. I can't explain why but I feel this form particularly adapts to express my music.

I would say it comes quite naturally. It also involves part of improvisation and indeterminacy.

I use recordings from my grandfather funeral ceremony in the album. I think of it as a time to think deeply about myself, my existence and transformation. I've always been interested in how we can consider and afford this passage.

I start from a complete audio-visual concept. Shape, colours and sounds bound together in a thin ice structural framework.

Yes. Right now, I am working on a short movie and a new release.