Q.2 How did you approach writing and recording Oxygene 7-13?
JMJ: 'The main excitement for me of making music is really dealing with textures, with colours. Almost considering sounds like actors, like when you are directing actors on a stage. It is the same kind of attitude I've always been interested in. And it was to this Oxygene 7-13 — 7-13 because the first one was part 1 to 6, was really to try to approach composition in this way rather than playing a melody or playing a tune. Starting with raw elements or structures exactly like when you are starting a sculpture on the stone, when you have just the raw elements and then you deal with these raw elements and from time to time you have shapes, give birth to shapes, and it's exactly what I try to do in this project by, for instance, using instruments like Mellatron or Theramin, but also the first old analogue synthesisers where you can really deal with the actual shape of the sounds. And then working, I mean trying to assemble sounds like in nature, I mean you have a lot of things that are not necessarily made to, co-exist. It's like your fingers, you know the shape of each finger with time is taking the shape of its neighbour. When you are a kid your fingers are quite straight and with time one finger takes the shape of the next one. It's exactly the same with sound. Time for each sound being shaped by its neighbour. And so a part of this, a big part of the composition on this project, has been to work on the console, to actually, I would say, knead, like you are kneading clay. Kneading sounds.'