It all begins in a childhood bedroom. In the evenings, drifting off to sleep, he would hear his father playing Bach's cello suites in the living room. That music would never feel distant or frozen in the past — it became woven into his memories, into what makes him who he is. At the same time, he discovered with equal fascination the explosion of hip-hop and synth pop: music without instruments, made entirely with machines. These two apparently opposite worlds would shape his ear, his tastes, and his entire career. Fascinated by Brian Eno and Ryuichi Sakamoto — whose eclecticism and constant reinvention inspired him — he would never confine himself to a single aesthetic, convinced that another path exists between the exclusionary intransigence of the avant-garde and the comfort of the mainstream.

Trained in classical music, he co-founded Octet in the early 2000s with François Goujon, whose album Cash and Carry Songs (2004) was praised by Pitchfork. The single Hey Bonus — built around a harpsichord — caught the attention of Beck, who invited the group to remix his track Girl. That detail is not incidental: a harpsichord inside an electronic track was already a manifesto. In 2005, on a stage in the Château de Versailles park, he used his computer to transform, in real time, Jonathan Dunford’s viola da gamba and Thomas Dunford’s theorbo, which subsequently became an international benchmark in Baroque music. Harpsichord would later become central to The Noise Consort, an ensemble he founded with Gabriel Urgell Reyes and Philippe Renard, whose EP On The Hitchpin Rail (2017) explores the meeting point between baroque polyphony and experimental electronics. In between, he formed the duo Discodeine with Cédric Marszewski — a defining project in the French electronic scene — collaborating with Jarvis Cocker (Pulp) and with Kevin Parker (Tame Impala). With Benoît de Villeneuve, he formed the duo Villeneuve & Morando, whose EP Artificial Virgins (2018, released by Laurent Garnier) was critically acclaimed. Together they composed the scores for choreographer Olivia Grandville's works La Guerre des pauvres (with Laurent Poitrenaux), based on a text by Prix Goncourt winner Eric Vuillard, and En même temps. For cinema, the duo also composed the original scores for Le Grand Jeu by Nicolas Pariser, the documentary Paradis by Alexander Abaturov, for which they worked with the Percussions de Strasbourg, and David Lynch, une énigme à Hollywood by Stéphane Ghez (Cannes Sélection officielle 2025, Cannes Classics).

His records have brought him to the stages of the Centre Pompidou, the Palais de Tokyo, the Gaîté Lyrique and the Grande Halle de la Villette, and internationally, from the Sónar festival in Barcelona and Mutek in Mexico City to Transmediale in Berlin. He performed at the Villette Sonique festival at the Géode alongside Krikor Kouchian, Bernard Parmegiani and Jamie Lidell, and interpreted Terry Riley's In C at the Musée d'Art Moderne de la Ville de Paris for the tenth anniversary of the Tigersushi label.

What has driven his work from the very beginning is a conviction: that experimentation did not begin in the twentieth century, and that the confrontation between ancient instruments — sometimes forgotten ones — and the most current technology can produce something truly unheard. Opening others up to that unheard: that may be the most constant thread running through his work. He is currently developing a personal body of work at the crossroads of acousmatic music, ambient music and ensemble composition, inspired by his research into microtonality, early music and the links between auditory and olfactory perception, still guided by the same question: what the ancient and the new, brought face to face, might teach each other.