And what about Hurston?

Hurston was a completely different approach. One of the things my father loved a lot, and one of the things he did when I was a kid, was to listen to a lot of music with me. And he had a broad taste. Actually, recently, like last week, that happened for the first time in my life: I went through his old LP collection. I couldn't believe it. I'm 40 now, and I've seen that collection since I was born, a huge collection. He was very organized. And I went through all the LPs to see what he had, what he heard. And that's exactly the image I had from when he was still with us. And he loved Vangelis and Jean-Michel Jarre and Tangerine Dream. So Hurston is like a hymn to those origins. To me, they're some of the main pillars of electronic music, at least of electronica.

And on Hurston, I tried to give it a little different taste. I tried to make the synths sound like an orchestra, which was what Vangelis did a lot, and tried to make the orchestra, which is there, sound like synths. So it was the reversal of what we usually do, which is something I never tried before. And I believe it worked quite well. I liked it. It was also hard to approach at first, but I think it worked out, at least for me, quite nicely. As I was saying in our pre-chat, it gives enough space in the music that we could create a whole feature film on that planet just using the musicscape from those few pieces I did. I think it's enough because there are enough different instruments, enough different thematic content there. So that's how I did it.