Your new album paints such beautiful landscapes and images. What were the thoughts behind its creation?
This record has a long and intricate history, taking several years to reach its final form. It was a process that required a lot of dedication – not necessarily in terms of recording or directly working on it, but more in terms of having a consciousness of the entire work. The album features a blend of different musical approaches, starting with folk and roots influences and evolving into ambient soundscapes. It also includes three songs with a retro-contemporary twist, merging old traditions with modern sensibilities. I feel this record is out of sync with the fast-paced rhythm of today's world; it is a work that takes its time and invites you to discover it slowly.
How did you come to collaborate with PJ Harvey?
In 2012, I was performing at the State Theatre in Sydney, Australia, with Mondo Cane, Mike Patton's project dedicated to Italian songs from the golden age of the '50s and '60s. That evening, among the audience, were PJ Harvey and John Parish [Tape Op #45]. Three years later, in 2015, I received a call from John, who told me that Polly was looking for me to be part of the recording sessions for her new album, The Hope Six Demolition Project. I traveled to London for these futuristic sessions, where the process was unlike anything I had experienced – recordings took place at Somerset House in a room surrounded by glass walls, allowing the public to observe us as we worked. It was a wonderful experience to see these songs take shape step by step, from initial sketches to bold experiments with sounds, with Flood and John Parish as producers. After the recording sessions, I joined Polly's band for the subsequent two-year world tour. I have remained in contact with Polly over the years, sharing the new music I was working on and exchanging thoughts about it. Her feedback has always been invaluable; providing precious advice and open-minded perspectives. Through these ongoing conversations, the album gradually took its final shape. Her guidance throughout the process was pivotal, and she is credited as the album's executive producer.
You have done some other interesting collaborations as well with Calexico, Bill Frisell, and Mike Patton, whose Ipecac label releases your music. How did these relationships start?
