Alain is one of the most interesting, magnetic, talented, kind and endearing people I have ever met in the 23 years I have been chatting with creatives. Being in his company is both a pleasure and a privilege; you part with a warm, joyous feeling, and after hearing his story, are left inspired and awed. Alain’s life has been a roller coaster ride of creativity, love, loss, and more creativity. He is a multi-instrumentalist, solo artist, has had many bands including, Walk The Moon & Eleven – with his beloved wife Natasha – and What Is This?, as well collaborated with artists: PJ Harvey, Chris Cornell, Queens of the Stoneage, Mark Lanegan Band, Brody Dalle, Them Crooked Vultures & more!
Recently Alain created the soundtrack for Tom Clancy’s Ghost Recon Wildlands video game and is the subject of an upcoming documentary, Unfinished Plan – The Path of Alain Johannes (trailer below). While Alain was in town touring through with PJ Harvey, we had lunch and chatted about his projects and journey. One of the most important things that I learnt from my chat with Alain is that no matter what happens in life, it is important to keep going, and keep creating.
What are the things that are important to you right now?
ALAIN JOHANNES: Right now I find myself at a… there was a very heavy period, Natasha passed away in 2008; my mom got sick before that; my mom got better and moved in with me around the last couple of weeks of Natasha’s life, then I took care of my mum for 6 years. She was fighting cancer, then she passed away. Three weeks after that, my father, that I had just become connected with again in 2010, passed away. It was a big secret, my mom was opening up for him on tour, with all the musicians in Chile, you know, rockers. His manager said, ‘You can’t marry because all your fans are girls, all of your songs were about girls’. He didn’t show up; my grandmother said, ‘That’s it, he’s dead to us!’ I grew up to think that my step-father was my father. My grandmother finally told me when I was in my late 20’s and it took me until 2010 to meet him. So, I have a whole family in Chile, brothers, cousins, aunts. He passed away three weeks after my mom… I just stayed busy working on things.
Right now what I want to do… being in this band with Polly [Jean Harvey] there is such a feeling of family. I feel like L.A. is feeling more like a ghost town for me. I need to find what the rest of my life is, I want it to be very creative and I want to make more music, maybe produce stuff. I have to do so much non-stop work to stay in L.A. ‘cause it’s so expensive that I never really managed to get any savings or anything like that. I’m looking to move out of L.A. this year, it might be June or something. I’m just kind of floating around, I’m not really sure where I will end up. Maybe Europe, maybe the UK, maybe here [Australia].
That’s really exciting! A lot of people are scared of change and the unknown…
AJ: Yeah. Not me. I don’t like to make plans too heavily, I just like to float around. I’ll have to find a way to take my incredibly massive instrument collection and put it in storage and just float around for a bit. I’m ready to make more solo records. There’s lots of exciting things happening, I did the music for the next Ghost Recon [Wildlands, video game] by Tom Clancy. Half of it is me, and the other half is me and Nick [Oliveri] and Joey [Castillo]. It’s over 100 minutes of music on the CD version; the digital download for the video game, its 6 hours of music. I did that earlier this year.
I saw a behind the scenes video of you online working on it, it looks like it was so much fun.
AJ: Oh yeah, it was amazing.
It looks like it! …watching the imagery for the game on a big screen and then having to come up with the music to accompany it all.
AJ: Yeah, it was fun. We did it even with a quartet, reacting to what we saw on the screens. They geomapped Bolivia so perfectly, it’s like you’re walking through it. It was just improvising and flowing, reacting to the mood of the environment then using that as the score, it was really open. It’s like what Neil Young did for [film] Dead Man, he basically just watched the movie and played along, it was cool.
In an old interview with you, you said that you’re a very visual person when you make music…
AJ: Yeah, I mean, I’ve always wanted to… this year I got to do the video game and the documentary [Unfinished Plan – The Path of Alain Johannes] which was great. I’d love to do more of that.
Ten Commandos [featuring Matt Cameron (Pearl Jam), Ben Shepherd (Soundgarden) and Dimitri Coats (OFF!)] is so tricky because those guys are so busy. I love making the record but we didn’t get to play a single show. I wanna play with Jack [Irons] again, he was Eleven’s drummer, I grew up with him. He’s doing a solo thing where he’s just playing to visuals. I’m going to be touring at least until the end of the year with Polly.
There’s such a great energy between you on stage, between all of you, a real synergy.
AJ: Yes, it is very natural. We’ve been together since the beginning, it’s all of the people that Polly loves that’s she’s brought in, all her closest people, all together. The chemistry worked out just right, it’s amazing, everyone is really selfless, including Polly, and it’s just about the music and the songs.
While watching you perform with Polly, you seem to exude and radiate a joy and gratitude, you look so happy to be there in that moment with everyone.
AJ: Exactly, that’s what it feels like. It’s something that inspires me. It’s the most joyous thing that I am doing right now. There are times in between, when I am not doing, that can get kind of difficult, where I am dealing with my own mind, still doing the grief process or whatever. There is something so right about what I’m doing though and it’s where I want to be with my life, surrounded by loving, amazing people. The world is difficult enough as it is, especially now Mr Trump is in!
It is, that’s why I believe it is so important to keep creating, and to nurture community, and contributing good and standing up for things you believe in and that are right and true. The songs in Polly’s set deal with pretty heavy themes…
AJ: Sometimes we’re delivering that feeling, but it doesn’t mean that we can’t in a celebratory way connect to them. I think it’s a good contrast, the intensity of the lyric and the song, and the feeling around it. If you notice the contrast, it very often sounds like the lyric is so intense and the music has a more of an uplifting feeling—that always makes for interesting art. It’s that tension and release. It’s really special. We talk about it all the time, it’s a rare thing. Out of all of the bands… except my band with Natasha, my wife, and Jack my best friend since school, it’s never been this kind of feeling with the other ones. I love Queens [Of The Stoneage], but it’s just different.
To you, what does it mean to be an artist?
AJ: My first memory is music, hearing it and then singing. I started playing really young. It’s something that I was drawn to, even before language. I just kept resonating with a message that was non-linguistic. I kept feeling this connection to life and the mysteries of life through music. I became almost obsessed with sounds and instruments, I started collecting instruments. All I did every second that I could, whether it was actually playing, or I was listening, or even just thinking about music in my head or hearing and seeing patterns in the universe, hearing things, it was all music. Also the way that I could feel it communicate, being really young and watching people reacting to it at a concert… everyone is so different from each other, they speak different languages but they’re all sharing this moment, understanding something that you can’t even verbalise.
Being an artist means being able to communicate something that you have to communicate and doing it in a way that is… see, I love poetry and lyrics, your mind can do this crazy thing of communicating such a complex, deep experience in your life and all the different things about it like being afraid, being in love, being angry etc. etc. To me music is the most complete in that way.
I could definitely hear all of those emotions on your first solo album, Spark.
AJ: Yeah. That was done in four days, it was four days of just like, exploding. I remember my mom was staying there with me and she’d check in and make sure that I’d eat something every once in a while because I went into a trance. I was drinking vodka, not to the point of being drunk but, to the point of being really open. I remember being in a weird altered state in which I felt that Natasha was there. There was a lot of things that are on there that would have happened if we were there together or if she was there, like vocal things, it even sounds like she is singing in there but she’s not. If I solo with the background vocals I can hear it is me, but inside the track it sounds like she is in there. ‘Spider’ the very last song that I recorded, I went to the cemetery and I was sitting there at her grave, I put my hand on the tombstone and the spider just literally jumped like this and went across my hand – just like in the song – and ran up her face [on the tombstone]… I will show you what it looks like, it’s really beautiful.
[Alain shows photos on his phone of Natasha’s beautiful tombstone].
Wow! That IS beautiful. I’ve never seen anything like it, it gives me goosebumps!
AJ: Thank you. Its granite and a laser guided etching.
A lot of the lyrics for your and Natasha’s band, Eleven, are pretty spiritual.
I know that in the early days, you guys were reading a lot of quantum physics books, trying to connect the dots to science, and were interested in consciousness…
AJ: We both kind of had this discomfort with reality, trying to figure out… not something super organised by people like something that calls for organised religion, it can be really helpful to a lot of people though… but just something more like experiencing and observing, getting into the sciences that are a little more mysterious, that put consciousness more in the middle, as opposed to say that it’s a by-product of chemical processes. We were semi-obsessed with that because we kept writing about it in different ways. Not exactly the best lyrical… there wasn’t as many personal songs, maybe in, Howling Book, a little bit later…
That one is your favourite, isn’t it?
AJ: Yes, it is. Because Jack had gone and he came back from Pearl Jam… that record had some really great songs I feel from some of the other records. In terms of the sound of us being in the room and playing, Avantgardedog, was a little more produced and had all this crazy shit going on and we didn’t have Jack. Greg is amazing but because we didn’t have part of my ‘core’ since I was 14, with Jack on drums, when he left for the [Red Hot Chilli] ‘Peppers in ’85, we did the, Walk The Moon [Alain & Natasha’s first band] record. We just ended up using a drum machine—you can’t replace him. When Hillel [Slovak; guitarist/founding member of RHCP] died, he broke down, I had a breakdown too and then he came back and we started, Eleven. Then he went out with Pearl Jam again, we thought, Jesus Christ, can’t you just stay put for a second [laughs]. It’s good that he did though, because we never managed to make a living off of our music.
How did you find yourself producing?
AJ: We started doing it because every time people recorded us, it didn’t sound like us. I didn’t have the confidence to do it at first but I’d been recording since I was a kid and I just said, fuck it, I’m not going to mess it up any worse than this guy! [laughs]. So, I started doing it.
When Soundgarden broke up, Chris [Cornell] stayed with us for three months. During that time we were doing demos ourselves, writing songs with him for, [Chris’ solo record] Euphoria Morning. ‘Pillow Of Your Bones’ Natasha wrote the music and then wrote the melody. I did ‘Follow My Way’, ‘Mission’, ‘Disappearing One’, Natasha and I were working on all of this stuff and the arrangements. Then he invited the president of A&M to listen to our stuff and he gave us a record deal. We ended up taking the money and instead of going the usual route, we asked them for the money as a P.O. number for a music store and we ended up buying all the stuff for the studio. We used that to make Avantgardedog, then we did, Euphoria Morning. Avantgardedog came out after, they made us wait, until after the touring cycle… which was a bummer because then Interscope took over A&M and they ruined that record, just every label didn’t promote the records at all – they were all just like 20,000 copies to 25,000 copies printed and sold in the first few months, then that was it.
I’ve read that you’ve experienced difficulties over the years with record labels putting your work out and that inspired you to take the ‘Pledge Music’ and independent route, so you could just put the music out.
AJ: Yeah. Not to say that there aren’t the right, or great labels out there, I just never got lucky to find them. There are always great people inside, back then it was that much more corporate though. If you didn’t get played on the radio or didn’t get in the magazines, you just weren’t known. It made everyone much more independent, having our own studio helped with that too.
There’s the music that you make, then there is the potentiality, which no one can control, it just is, then, what’s the shortest route between. The ‘Pledge’ thing was done, we sell stuff and then the extra things at the concerts would pay for the shipping. In the end it paid for itself, there was no profit, I didn’t expect any profit.
Part of me just wants to just put music out there, but then sometimes psychologically, some people the ones that would… the best thing to do is just make vinyl – people love that because of the physicality – then digital download. There’s a whole generation that wants their music for free, I don’t necessarily agree with that because, things are supposed to have value, it doesn’t have to have monetary value… but if something costs $10 then that’s something. People are like, ‘oh I’m not going to pay for music’, then they go get a donut and a Starbucks thing and it’s like, there’s your record! Music can be something that’s forever, you buy your coffee and your donut and eat it, it’s gone, and in four hours you gotta do it again [laughs]. You can’t teach someone to appreciate something though, you can’t demand it. At the same time, so much of the recognition for Eleven in South America has come after the fact, through people promoting it on YouTube or spreading the word. The most important thing is that the music survives. I’m not against downloading either. I’ve been in places in South America where for people to buy a CD or vinyl, it’s a quarter of their monthly salary—that’s not cool. It makes it inaccessible to them.
There’s not enough meditation in general, or people taking walks. We get so much information, it’s like glucose for the brain, it’s just processing stuff. You ask someone what they just read, and they go, ‘I don’t know but, god damn, my brain was excited!’
I wanted to ask if you meditate?
AJ: I do TM.
AJ: Yeah. The ‘Maharishi’ one. It’s very simple. You go to the class – they charge you money for this – then you get initiated after you get guided; they give you your own word, supposedly. The word is a sound that has a rhythm to it that shouldn’t have an association with meaning, a word that doesn’t already exist. Then literally it’s very simple, you’re supposed to do 20 minutes… I used to do it regularly, it helped me through a really dark period, but you know how once you’re better you’re like, oh, ok, I’m cool now [laughs]. I wish I would have been doing it the whole time though. You close your eyes in the relax position and then you start repeating the word like ‘da da, da da, da da’ kind of thing. And of course what happens is that your thoughts try to take over and at this point all you’re meant to do is keep focus of the mantra and the cycle of it. Then you see what is like a memory come up and you don’t jump into it and emotionally relive that – you know when a memory comes up and you can feel the chemistry change in your body because you’re buying into it – but you just let it go. It takes a little while for you to properly let it go. After about 20 minutes, you end up feeling what the right amount of time is. You repeat it at night. If you do it laying down you fall right asleep [laughs], don’t get comfortable. They charge you like $500 for that, you do three days then they put some flowers around you and you give a prayer to the guru or whatever… I don’t really remember.
I have a really funny memory, Natasha and I did it together. On the third day, we were in a small classroom with chairs and fluorescent lights, we were doing the meditation and suddenly I feel this breeze and I knew there was a door over there, but was like, who opened the door? I opened my eyes and it lasted for about four and a half seconds, I was sitting and there was a person there that I recognised as Chris Cornell, but it wasn’t Chris, wearing a seersucker suit, it looked like the 1800s, a garden, and then a girl who I recognised as Natasha but it wasn’t Natasha… this all happened so fast… we had a really big parasol and were in a garden with iron furniture painted white, and I could see my hands… I could feel the breeze! It was all there for a second and it dissipated really fast, it was really trippy. I had the feeling that it was like some parallel universe or something. It was a portal in my mind. It was fun.
Wow. What lead you to meditation?
AJ: Well, I was blessed and cursed with anxiety disorder. My first death-anxiety-existential crisis, I was like 9-years-old and in the catacombs underneath the Pyramid of the Sun in Teotihuacán. I went there on my own. I was walking through the catacombs, there were mummies there… when I was really, really young I kept having this communion with this being… meaning I would talk… I say, today I did this or that… but it wasn’t so calculated, and then when I got older we started going to church… I was told that I could only communicate with this idea of ‘otherness’ in this building or in a certain type of building, under strict guidelines, it just didn’t make any sense. I just had this chat since I was really small, it gave me a good feeling that something was listening.
I started to have panic attacks really young, because there was a terrible chasm between what reality was and what I knew reality could be, the way people behave. I would always watch adults and see their patterns and see them coming to a place of anger and fighting, and I would be there with a joke to try to diffuse it, to shift the course so they wouldn’t get to that ugly place. I finally started to get it together when I read some [Carlos] Castaneda, and got into poetry, then Natasha and I met, I was 22 she was 28. We were in Paris and we had a particularly weird night, she drank too much, she had a hyperglycemic attack and a panic attack, it was an adult one and I didn’t quite understand it but trying to help her and resonate with her to calm her down, I learned to see it from a different perspective, then I started having them. I went through a period of them and she helped me. One of them was so bad that I basically had to reconstruct my ego, my ego structure actually died, I was laying for almost eight months unable to go outside or if I did, every sound was huge, a burning in my solar plexus constant, wave after wave after wave of panic attacks, it was just awful. They gave me drugs but I didn’t like it, they just deadened me. Meditation is what really helped, and this really funny little book called, More Help for Your Nerves, by Dr. Claire Weekes. There’s these four things: Accept, face, turn towards your panic attack, accept its happening. Float through the eye of it and let time pass. I started to do that when I’d feel a wave, instead of resisting it, I’d start going through the middle of it; like a roller coaster when you go, whooooa! Then another wave would come and it’d be, whoooa, again; time passes and it just goes away.
Maybe I should try that! I get anxiety a lot. At times in my life I’ve suffered for severe anxiety, not being able to leave the house kinda stuff too like you were talking about.
AJ: Yeah, it’s really good. If you’re sensitive like we are, it can be really fucked up; being fluid – having almost like a childlike quality, not all children obviously and not that I want to use ‘childlike’ but – there’s a fluidity and an openness. I never want to become a robot or a product of the contents of my environment or my mind, or whatever, or what I’ve been told authoritatively—train your mind and be open.
You’ve been a part of creating so much amazing music like Mark Lanegan Band’s Blues Funeral album – which was one of my favourite releases for the year when it came out in 2012…
AJ: Wow. We had an amazing time making that record. Mark and I are a really funny thing, I understand him really, really well. He can come to the house at ten in the morning and by one, we’re done with the track. The new one [Gargoyle] we did will be coming out soon [it was released in April]. We just got everyone in a room and everyone played, like stuff we did with Bubblegum on ‘Head’ and ‘Driving Death Valley Blues’. He’s really quite exploring and obsessed, with the kind of way he… Phantom Radio was a bit more visceral and his voice wasn’t quite as aggressive all the time… it’s interesting because this album is different from the other two.
I love the work you do with Brody [Dalle Homme] too! I love the Spinnerette record.
AJ: Yeah. It’s fucking nowhere now, I can’t find it anywhere. I have a copy of the vinyl at home, but you can’ find it in iTunes or Spotify. That was a really tough one. Brody and I were doing all demos at the house, then Natasha got diagnosed; it was time to go in the studio but I really just wanted to be with her. For two months out of eleven months that Natasha lasted after her diagnoses, I was away quite a bit. Jack, me, Tony [Bevilacqua] and Brody were there. She didn’t really tour much on that record. Then we did album, Diploid Love, which took a little while too, with her balancing being a mom and a rock goddess.
I love how on the credits for the Spinnerette record it says ‘spiritual guidance from Natasha’. I thought that was really cool.
AJ: Yeah, they were really close. Natasha loved Brody a lot. I love that record.
I love it too. It’s a really special record. The song writing is incredible. I think it’s some of her best work.
AJ: It really should have just been her first solo record, it is a solo record. We collaborated on it but it’s her songs. I think for Distillers fans, it would have been a lot easier for them to take if it was a solo record. I was there to help build the overall sound of it but it’s her songs. We wanted something different but that still had the energy of The Distillers. It was very much her and I creating the sound. Distillers’ fans are very protective of their particular ‘ah-ha’ moment and what it meant to them. With Diploid Love I feel like there was a lot more acceptance because it was under her name. She’s still that Brody that Distillers’ fans love but she’s a mom and an adult…
She’s expanded and keeps growing! I’ve followed her music since her first band here in Australia, Sourpuss, and to watch her evolution has been awesome. I love artists that keep growing.
AJ: To me, her voice still could raise the hairs on the back of anyone’s neck.
Yes! I love your work with Polly too, and watching you guys play together.
AJ: We go on stage as a circle, all ten of us, and as soon as we feel an energy we open up, energetically it’s intense. Polly is so incredible, the way that she just gives everything, it’s so in a trance and focused on delivering the songs.
Watching her last night was amazing! She’d make one tiny move and it felt so powerful.
AJ: Yeah, there’s so much there, it’s very impactful.
What’s your favourite Polly song that you play?
AJ: Oh my god! There’s many…
I know last night you were telling me that you find bits where you get emotional…
AJ: Yeah I get emotional in ‘River Anacostia’ and ‘The Glorious Land’ and ‘Let England Shake’. ‘Dollar, Dollar’ is always beautiful too, Terry [Edwards] does an incredible solo. The whole thing has a big scope, the way that it builds. For me a really emotional moment is the bridge in ‘…Anacostia’ it goes [sings]: a small red sun makes way for night. There are songs like that for everybody in the set.
Have you started working on any other music?
AJ: Not at the moment. I just did the video game. I have enough bits of songs on my Instagram for another 60 songs. I like to document them there. Listening back to those 20-30 seconds of songs tells me further what to do. I’m not going to do a volume two of, Fragments & Wholes. I usually like to be much more improvisational, it comes as it comes. Writing fragments I was writing the day I was recording it, a song a day. I’d pick a bit, imagine how it goes, finish the lyrics and melody, form it and then mix it at night. I wouldn’t mind doing something that is just a single microphone, maybe an old ribbon microphone and just literally make kind of a time capsule, without being too retro about it, like an old blues record—just a voice and guitar or cigar box. It’s all in mono and all sounds exactly the same but the songs are different; then it’s just about capturing a great performance. I’d have to spend about a week, writing and performing them until I felt about ready and just do it, maybe straight to tape, that’d be really fun!
I think when I get home, I have to wrestle with whether to go work on two or three things that I have been asked to do and stay in the house, or say, fuck it, and live dangerously and get out of the house and live with my sisters and wait for the next tour. I’m still trying to decide.
I think you’ll choose to live dangerously! I can tell from a little glint I see in your eyes!
AJ: I think so too [laughs]. There’s 30-some years of memories in that house. The house is so filled, it would take 3-4 semis to move it all. There’s so much memorabilia, photos and instruments. I’ve given away most of Natasha’s stuff, like clothing, jewellery, shoes, to people I know she would have wanted to have it. There’s tapes from, What Is This?, my first band and from Walk The Moon—so much history. It keeps self-perpetuating every time there is a little break where I could get out of the house, I could work and if I work all it does is pay the bills – it’s $10,000 a month I need – so as you can imagine, I don’t stop working. It all just keeps me there, so I work non-stop and that burns me out a bit and all I can do is pay the bills. Then I get to go on the road with Polly and I’m happy again! Then I go back to the house, just the thought of going back makes me go, oh no! [laughs]. My brother-in-law is staying there at the moment and taking care of ‘Pen’ my dog.
What type of dog do you have?
AJ: She’s a rescue dog, her name is Penelope. She’s part Chinese Crested, she’s got some hair but she’s bare in places, she has like little cow spots, maybe part Sheltie and a little bit of Chihuahua, it’s hard to say. She’s amazing. She must be three now. She’s amazing when recording, she’s in the control room, she doesn’t like when I play saxophone too much though [laughs]. When I play trumpet or alto sax she starts to howl. The first time she heard drums, Matt Sorum [Guns N’ Roses] came in and played and she went running in the other direction.
Awww cute. I love dogs in the studio. My husband’s dog Spanky sang/growled on a cover version of Ramones’ Blitzkrieg Bop he recorded.
AJ: [Laughs] Wow! I’ll show you a photo of her…
[Alain shows a photo of Pen. He also shows a photo of Natasha playing keyboards on stage with Soundgarden, Natasha is sitting on Alain’s knees while he holds the keyboard, acting as her stand.]
That photo of you and Natasha is so cool. So rock n roll! That’s true love right there! Were you the keyboard stand because there wasn’t one?
AJ: No, we had one but it was shit, and we thought it’d be funnier if I was it [laughs]. We were there at the show and they invited us to play. I didn’t know if I could hold it up, but I did! I have so many great photos. Here’s Polly at breakfast, I took that the other day. And my first band with Flea [RHCP], that’s 1980. I have a photo of Flea and I when I was teaching him how to play bass, he looks like he’s 10! [laughs]. We [our band] were like a weird hybrid combination of King Crimson, Rush and Captain Beefheart.
AJ: When I was young, my uncles would always crash at my mom’s place, they had bands. In the livingroom there’d always be a full band setup, a mini P.A… My uncles were doing ‘70s rock at the time, it was the ‘70s. My Uncle Peter, who passed away last year, he was kind of the Elvis Presley of Santiago, Chile. My dad was kind of more a songwriter, he was the first guy in the late ‘50s – everyone was doing covers of the rock songs – he was like, why can’t I just write my own songs in Spanish? So he did. It was called Nueva Ola, the ‘new wave’, in Chile. My mom, my dad and Uncle Peter was part of that movement.
Would you do a whole album in Spanish?
AJ: Yes, I would. I’ve actually started to write poetry in Spanish. It was is my second language. My grandmother was sick of running away from awful places, she was born in Transylvania, then she was in Austria in the war, running away from the war she ended up in Hungary, in ’56 there was a revolution and she moved to South America, and I was born there in Chile, there was all this shit happening there… one day she took me, she told my neighbour to tell my mom that we were going to a friend’s place in a different town, but she took me to Zurich, that’s where I was raised. I hooked up with my mom again in Mexico City, when I was five and a half; I met my half-sister, then we moved L.A. when I was twelve. I had been playing guitar since I was four. I went to school in L.A. and met Hillel, Flea, Jack, [Anthony] Kiedis and everybody. Slash [Guns N Roses] was going there, Axl too, although Axl didn’t make it inside the school, but he was around [laughs]. Demi Moore was there. Fairfax High School, it’s been there forever.
Unfinished Plan – The Path of Alain Johannes:
Alain at his 11AD studios:
Create forever, B xo
*Photos courtesy of AJ’s insta.