Composer and producer, my work is focused on finding the best way to render accurately the emotions I try to put into my music as subtle as they may be. Emotions are not binary, they are a delicate blend of tones, and the process to convert the flow of one's feelings into music is not a lossless one. All my Art is based on these demanding choices, in order to be certain to give back the right impression.

This reflection on my work came from the time I was reworking Les Messes Claustrophobiennes. Before that, in the early works I made from mid-up to the late 90's, I always felt that something was missing from my music. It was not about the quality or a lack of skills at sequencing or sound design. I was one of those kids who grew up among computers and who found pretty quickly that you could do music with them. So when I discovered techno in the early 90's, it was easy to me to jump in, even though I had this feeling of insatisfaction with my productions : they were like empty to me.

So from 1998 to 2008, I spent ten years to rework Les Messes Claustrophobiennes. The real challenge behind this was about master the ability to produce tunes where each single moment, as short as it may be, is dedicated to accurately express my emotions. After releasing Les Messses Claustrophobiennes I tried to start new projects, but working 10 years on the same one create frustrations. First of all, during all this years I've had many ideas or desires to explore other styles. In addition, I had this feeling that by polishing a musical project to such an extant, what I gained in perfecting the rendering of emotions, I lost in spontaneity.

In September 2010, I launched what would be my main artistic project, The Musical Diary, a blog where I express myself only through music in the most free and spontaneous way. Since then, it became quite a huge project with more than 15 hours of music for 275+ tracks covering a whole of musical genres.