It wasn’t to do with self-confidence, or lack of... It was a number of things really – one of which was not wanting to be a "front-man" – even now, I still feel pretty ambivalent about that role. Also , when I was writing the music for the previous album (How Animals Move) I was working with a big line-up that was really well suited to expansive instrumental pieces - and I wanted take advantage of that. After two predominantly instrumental albums (HAM and the soundtrack to Rosie) I wanted to do something different. That coincided with me writing more lyrics than at any time for quite a few years , and also meeting the musicians that have become my current band.

2. Listening to "Stable life" and "Somebody else" make me think it is not the same person who sings. Do you like to play the chameleon?

It’s not the same person! The vocals (apart from one harmony line which is me) on Stable Life are by David Donahue and Aaron Dewey.

3. There are a lot of duets on Once Upon A Little Time. Why?

Well for one thing, both Marta (Collica, the keyboard player) and Giorgia (Poli, the bass player) have great voices so I wanted to use them on the record. And I like the way their voices contrast with my low, roughish one. Also I think that one voice throughtout a whole album can start to wear a little thin. And although I feel that I can communicate a lyric in a credible way, in no way do I consider myself a great singer in the traditional sense, so Marta and Giorgia add a melody to the vocals that would be missing if it were my voice alone.

4. When you keep tracks as instrumentals, is it due to the fact that you don't find lyrics or the music stands by itself?

Simply that they work as instrumentals. And I really like albums to have instrumental pieces. For me they help to create the overall atmosphere of an album . I don’t think of albums as collections of individual songs – not my favourite albums anyway – to me, a great album is a body of work.

5. Why did you choose to cover a Kevin Hunter's song?

I loved the song. I met Kevin in France. At Miles Copeland’s chateau… A kind of convention where publishing companies send their under-performing writers in the hope of getting some work out of them. Kevin gave me a cd demo with a bunch of songs on it. He said there were only two copies, and he thought I might like it. The whole cd is great. It’s never been released. I was just waiting for an opportunity to cover one of the songs. And then I found it.

6. Songs were recorded in different studios, countries. Did you use your producer's job locations or did you want to work with special musicians located in different places ?

It was largely circumstance. But also a question of wanting to work in the three particular studios we used. I wanted to try the songs in different places, see what changes the different atmospheres/environments would bring to the performances. Then I took advantage of the different "guests" who were available in each location...

7. Hugo Race participates to your album. He is a very rare artist (I had the chance to meet him once, 13 years ago and I think he never came back to France) How did you meet him and persuade him to play with you ? What did he bring to you ?

I met him through Marta. They are linked – both personally, and professionally, as Sepiatone – who incidentally have just put a new album out – it’s called Dark Summer and it’s great. Hugo was around during several of the sessions, and in the spirit of things, played some off the cuff guitar. In the same way that I feel having other voices broadens the scope of the album, I think having other guitar players does the same. And having other guitar players with the style and originality of Hugo, Adrian Utley and Jeremy Hogg is a particular luxury.

8. I noticed that you put two versions of a same song on your albums ("Absolute Beauty", "Even Redder Than That") Why?

Mmnn... I didn’t know there were two versions of "Absolute Beauty" on the last album…maybe you have a freak copy ! But there is a part 2 version of "How Animals Move" - and there are certainly two versions of "Even Redder..." on the new record – for me, if the versions are substantially different, and both work in their own way, I have no problem including both on one album – in fact I think it adds to the continuity of the record.

9. What is the story of "Airplane Blues" so different from the rest of "animals" that is rather homogeneous.

I hadn’t originally planned to use "Airplane Blues" on How Animals Move. That song was recorded for an installation exhibition – Wingwalkers by Rebecca Goddard and Michelle Henning. But when I was sequencing ‘animals’ I felt it was a little heavy emotionally, and I wanted somethingto add some levity at the end. "Airplane Blues" fitted the bill perfectly.

10. Is "Kansas City Electrician" inspired by a real character?

Kind of… the title at least. A guy called Chris Pittman who I met in Los Angeles a few years ago. He was an electrician from Kansas City. He had great taste in music, but for some odd reason ended up playing keyboards in one of the later versions of Guns & Roses. But the lyric is nothing to do with him. It’s an absurd word association that I based around some playground slang that was supplied to me by a friend’s son.

11. "Even Redder Than That" seems to evoke a lithe girl monster ? Is it inspired by you daughters or just a wink to what they could be?

Both inspired by how she (Hopey, my younger daughter, red of hair and temperment) is, and a wink as to how she might be…

12. We see toy instruments on the booklet and the credits say Hopey is on "Sea Defences". Are you daughters yet interested in doing music or did you include them like Howe did with his kids, nearly by accident?

Well both my daughters like music. And of course it’s always been part of their lives. It’s completely normal for them to be surrounded by musicians and to have instruments lying around the house. Also the door to my studio is always open so sometimes they might wander in when I’m in the middle of recording something. I like that. I hate for creativity to be treated as this precious sanctimonious thing. Whether we’re working to a strict routine or just messing around, makes no difference. We’re all bobbing around in the sea waiting for the wave of inspiration to hit. Anything can bring that on. Be open to intrusion, it might be what you need.

13. The way you describe Catania's studio makes me think of Wavelab. Am I right? Is it why you chose to work there? Do you need a special warm and friendly atmosphere to be creative?

There is certainly a casualness that Wavelab has in common with the studio in Catania and the studio in Brescia. That’s not necessarily the best atmosphere for every recording situation, but I felt it was right for this record. And yes – in general I prefer recording in that kind of environment.

14. You play and produce bands that are very different (styles, nationalities, age). Is it a personal choice or just opportunities of a producer that needs to earn his life?

I would just find it a lot less interesting to be working on the same kind of thing, with the same kind of people over and over again. Having said that, I think there is a common streak of integrity and intention that runs through most, if not all of the artists I’ve worked with. It doesn’t matter where they’re from, they all basically just want to make something of value, without much regard to trend or fashion.

15. What does such eclecticism bring to you personally? Does it inspire you for you own songs?

For sure. I’m influenced to some degree by every project I work on. Sometimes the influences are noticeable – to me at least – other times they just go into the blender and come out as something impossible to directly trace.

16. I saw the making of "Monsters in love". You said that Dionysos was proposed to you without hearing a single note from the band. Was it an isolated case? How mostly do you proceed?

Yes – that was an isolated case. The first time I worked with them was just to record one song, so it wouldn’t have been a disaster had it not worked out ! – but luckily it worked out great. Then a little down the line I had the opportunity to make a whole album with them - and I’m really happy with how it turned out. Dionysos are a very good band – with a unique sound.

17. Do you think that you help small bands to get more recognition? How do you cope with the fact that you invested yourself in projects that sometimes don't come to light (Naim Amor)?

Well we’re all part of the food chain… If my name is the most recognized name that’s acttached to a particular project, then it’s likely that any media attention the project receives will concern my involvement. That is how the entertainment industry works. Press releases are just scoured for known names, and it doesn’t really matter what level of involvement said names have in whatever new release is looking for attention, it’s all down to fame…
Regarding records Naim’s record – it’s very disappointing that he has not found a good label to release it yet. I think it’s a very good piece of work. But I can imagine a lot of record label reactions… "Is it French ?…is it American..? what style of music is it...?" etc etc... It’s a hard record to categorize for sure. I think that’s to its advantage. Marketing departments would doubtless disagree...

18. What did you do on Howe's Arizona Amp project?

With Howe, you don’t really do things for particular projects… You just hang out, record stuff, usually it shows up on something further down the road. A while back I recorded a rhythm track for "Baby It’s Cold Outside". It showed up on AAAA

19. Can you tell us about "Songs With Other Strangers" project? Is it a one shot only or can we hope to hear a record, a tour…?

Songs With Other Strangers was put together by Marta. The first show was in april 2004 in Catania and basically involved myself, Marta, Hugo Race, and Sicilian singer/writer Cesare Basile. The project has expanded to include Manuel Agnelli and Stef Kamil Karlens. It’s a lot of fun, shape-shifting band with revolving front-people. We’re hoping to record something next year - and also to do a few more shows. So far all the shows have been in Italy, but it’d be nice to take it to some other places… Any suggestions...?

20. Who will tour with you in December?

The band that made the record. Myself, Marta Collica, Giorgia Poli and Jean-Marc Butty. Marco Tagliola, who recorded the album will be doing the live sound.