What does this Trans-Siberian journey mean to you today?
That trip gave birth to my first album, Transsiberian, released in 2015. It was a concept album, which is dangerous enough to start with, but I was stubborn and that crazy experience shaped me. I wanted to reinterpret the literary inspiration of the Trans-Siberian railway in a modern, electronic way. I had not planned to make several stops or to record people, like traditional singers. Drawing inspirations from sounds and rhythms that take me down different paths is sort of the foundation of my work today.
You own a mobile caravan studio where you travel and compose. Where did that idea come from?
When I returned from the Trans-Siberian, I realised that I’d loved this trip but that there were limitations. I was working in headphones on the train, surrounded by pretty exhausting ambient noise. The train also forces you to travel in a single direction when you might want to go elsewhere. I wanted to overcome these limitations, and I came across these old caravans that have very solid shells made to last over time. Mine dates back to 1972 and I worked with an acoustician to create a perfect professional studio. I’ve installed solar panels on the roof which lets me to independent, I can compose anywhere, halfway up a mountain or in a desert. I can stay for 3 or 4 days making music in the middle of nowhere. It’s amazing to have this kind of micro-house and creative bubble that I can travel with.