Préludes Suspendus III (2009) 10’ 10’’ (Stereo)
Préludes Suspendus III (2009) is an acousmaticc composition based on a small collection of sounds (instrumental and natural). These sounds were processed by digital means (analysis and resynthesis) using mainly granular techniques as well as convolution and micromontage. Thus the primary sounds developped into many classes of derivates, some of which retain certain original morphological and energetic features, and others constitute radical mutations. Overall, the work plays essentially with contrasts between textures composed of multiple strata, as an expression of a concern with a detailed articulation of sound objects at different time scales.
Preludes Suspendus III was commissioned by the French Ministry of Culture. The premiere took place at the Synthèse Festival, Bourges, in June 2009.

PianoHertz (2012) 18' 8 tracks
I made PianoHertz from a collection of short sounds that I played myself on an acoustic piano. I recorded these sounds with the intention to extend them digitally to foster the birth of multiple classes, some retaining morphological and dynamic traits of the original sounds while others represent radical mutations.
So what I have created here is an “acousmatic consort” of 46 real tracks, where piano sounds outgrow their usual acoustic behaviour, projected over their own causes, remote from their natural radiation. The goal here is not to imitate/degrade a noble acoustic instrument, but to bring a positive ontological change (toward electroacoustics).
PianoHertz was realized in 2012 in the studios of the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM) in Germany and premiered on November 24, 2012, as part of the festival Imatronic Extended 2012 at ZKM's Kubus. The piece was commissioned by the ZKM.

Mécanique des fluides (2015) 20’10" 8 tracks
The title of this piece can be understood in a poetic, or a metaphoric manner, or, more scientifically, alluding to a certain description of the physical world. The distinction that I often do between “laminar” and “turbulent” sounds is rooted in a physical description (from the dynamics of fluids). However, this description is not taken here as an external formal recipe: not wanting to reduce the musical practice to any kind of scientism, not negating its expressive and singular character, my concern is to bring forth some composed morphologies, manifested in the layers of a polyphonic activity.
Mécanique des Fluides was commissioned by the French Ministry of Culture, and realized at  the Ina-GRM Studios in Paris. The first performance was done at the Auditorium Saint- Germain, Paris, in January 2015.

 Circuit Fantôme - curated by Daniel Teruggi and Anton Iakhontov