1- What made you start your solo project “Noir”? What’s the philosophy behind it?
There’s no particular philosophy behind Noir, it’s just the extension of what I was already doing musically. I like the etymology, history, associations and symbolism of the color black.
2- You collaborated with so many different artists, what do you think of the notion of collaboration? Which collaboration surprised you the most?
For me, collaboration is usually just an expansion of my friendship with a creative person – for instance, The H and Femminielli Noir are projects with some of my closest friends. Collaborating is a way to make something I couldn’t make on my own, but it’s also a way to access different facets of myself – it gives me the chance to be someone other than Noir, to make different music and to reach a different audiences.
All of my collaborations have been really special, but the most surprising was the one with Grischa Lichtenberger because we barely knew each other, and instead of jamming or exchanging musical ideas we were building a philosophical concept. When we finally started composing, we were putting in 10-14 hour days together… I guess it was surprising because of how intensively we worked, and because I went into it with no idea what to expect and came out really satisfied.
3- We noticed that besides producing music for yourself you also write for theaters and movies. Does the creative process remain the same for you?
No – it’s totally different to work freely or within my own confines than to work in a box someone else has created for me.
4- According to Pierre Boulez, “Score” is a process which presents no indeterminacy. Do you agree with him? Are you classically trained?
What Boulez says might be relevant for his music, but it’s not for mine. Aleatoric movements and accidents can be really valuable. And no, I’m not classically trained…
I’ve always believed in autodidactism.
…Isn’t “Le marteau sans maître” completely based on indeterminacy?
5- Did you have recently any epiphanies in your work?
6- Do you think that live performances bring your music to another level?
Is the use of light and projection a necessity to your music?
Yes. In fact, my last two albums (“O.I.P.D“ and. “A.U.S.I.U.I.W. 2011-2013‘”) are made almost strictly from live recordings of performances…
These days I feel like a piece is never really finished until I take it into a live setting and re-record it with the spirit of the room. I like the improvisational aspect of a performance and the exchange of energy between me and the others in the space – it all gives life to the music.
And lights or projections aren’t necessary, I often prefer to play in the dark.
7- We noticed that you did analog and digital performances, do you feel a difference while performing with digital tools compared to analog gears? Which devices do you often use in live?
Of course analog gear is more tactile and satisfying to touch, but I usually have a mix of both in my setup. What I use live changes depending on the specific performance; each one is different.
8- The design of your covers, posters as well as your official website showcases a pronounced Japanese influence.
As people who have a strong love for tourdeforce design, we are curious about the identity of the designer and their significance. Are they complimentary to your music, as an extension to its concept?
I don’t really think the design of my albums describes or extends from my music. I see the design as something more useful and pragmatic. People want to hold a nice object, and collect a nice object, so the packaging is important… I also like the idea that there’s a lot of information in each design, and that it’s very clean and clear. It serves as a personal archive of my own work and experience.