- Could you share the thoughts or ideas behind this live set?
It took me a long time to find a way to play solo. But a few years ago, my friend Martín Rucci recommended the Torso T1 sequencer. It took me some time to understand it since it has its own language, but eventually, I started composing some ideas and sequences. Basically, I needed a way to play a synthesizer that I love: I have a pair of Dave Smith Tetra4s, recommended years ago by my friend and collaborator in Lujo Asiático. I also use a sampler, a delay, a reverb, and a sidechain. Most of the time, I feel like a shepherd of machines. It’s as if the machines were wild animals and I’m just guiding them toward what I perceive as beautiful. It’s like the sounds are water and I’m trying to channel them — making sure they don’t overflow or lose control. In that sense, as I operate the sequencer, even though I start with some basic ideas, I end up surprising myself with what emerges and try to adapt it to what I’d like to play.
- Could you tell us about your usual approach to performing live?
My set is quite conditioned by the context — it depends a lot on where I’m playing. The same initial sequencer ideas can work equally well in a temple or in a club.
- This was your first time trying a hybrid set using turntables, as I understand. How was the experience for you?
Yes, it was my first time. I started listening to music through my father’s vinyl collection, so it has a special meaning. The turntable has a very tactile and malleable quality — you can touch the record, slow it down, and really feel it. I’d love to make an album using only turntables.
- Could you introduce the records you used in this set? I'd also love to hear why you chose them.
I can’t recall the exact names of the albums because I left them in Tokyo, but they were:
a Korean gayageum album, a Japanese solo piece for shakuhachi, and a Pharoah Sanders album. The reason I chose the first two is that they have a lot of silence and the instruments are very isolated. The Pharoah Sanders one was a bit more random — I was hoping to find a solo saxophone recording, but when I played it, it turned out to be the full band.
- Do you often buy records while you're traveling? And what kind of records do you usually look for?
I try not to buy records because I already carry copies of my own album *Music for Horses*, and transporting instruments and vinyl is extremely heavy. But in Italy, with Qoa, we started buying some records thinking about the DJ sets we would play in Japan — including some from Ella Records.
- You're originally from Argentina, but I heard you rarely go back home and spend most of the year traveling abroad. It's a lifestyle that many musicians—and even people outside of music—dream of. What kind of skills or mindset do you think are necessary to make that way of living possible?
I really like playing live every day because each time is completely different. That’s the main reason I travel. If there’s one skill I’ve learned over the years, it’s traveling light — carrying only what I truly need, both in instruments and clothes.
- Traveling the world must expose you to all kinds of stimulation and inspiration. Among these experiences, what do you find to be the most enriching?
What I find most interesting is having to adapt my set to completely different contexts — from a temple to a club, from an afterparty to a record store, from a riverbank to a basement.
- Conversely, has traveling around the world made you reflect on or reconnect with your identity as an Argentinian? If so, how has that manifested?
It’s funny, but every time you travel far from Argentina, Argentine music and folklore sound even better — nostalgia makes everything more beautiful.
- I believe this is your second visit to Japan. Have you had any experiences that you feel are uniquely Japanese?
The Sento (public bath) custom feels like a 100% Japanese experience. On my first trip, I didn’t really understand or embrace it, but this time it became essential — I started having back pain from carrying luggage, and it really helped me, especially the electric baths.
- What kinds of music or artists have influenced you on your journey toward your current musical style?
I think my sound initially evokes the tranquility of Japanese cult artist Hiroshi Yoshimura, but a closer listen reveals intricate layers and detailed craftsmanship. I define my style as “ambient manija,” which could roughly translate as “intense ambient.”
- Are there any artists who have influenced or inspired you in terms of your gear setup or live performance?
All my gear was recommended by Andrés Serantes, my partner in Lujo Asiático. He really understands synths and effects.
- Ambient music often strikes a balance between synthetic and organic textures. How do you approach creating that sense of organic warmth or natural feeling in your work?
I think certain samples and specific sounds from the Tetra4 synth naturally have that organic warmth.
- What advice would you offer to aspiring ambient musicians who are just beginning their journey? If you see any important differences compared to working in a band or as a DJ, could you share your thoughts on that too?
Ambient is a very wide spectrum. I think the best thing is to embrace that heterogeneity and try not to “make” ambient music — let the ambient come naturally, like those ’90s techno producers who started making more ambient-related records. For me, the only truly interesting thing about ambient as a genre is the idea of silence.
- What are your plans for 2025-2026? If you have any announcements or upcoming projects you'd like to share, we'd love to hear about them.
Next year, I’ll be touring Europe starting in April, and I hope to return to Japan around September or October for a few months. I also hope to release a few albums!
