// Corporate Ransomware E.P. //
The ransomware that infects thousands of computers in the world probably will be used in the future to get benefits by companies. That may seem a bit illogical, but the pathology of normality may force us to accept it. At the end of the day, we accept wars for energy and oil. It is needed to hack the normality...
// Laments at Guillotine E.P. //
Semantically altered, as if the laments happen @ Guillotine club. What would happen if some politicians are carried to the guillotine?. In that way the corruption can’t long very last, it would be temporal. This EP has a semiological approach; why the guillotine symbol means and communicates?
// Sweatshop Thorax E.P. //
Computer systems are used to track behavior and output of workers to maximize productivity. X-ray machines processing humans to analyze them. Is there a way to reverse the Panopticon? Inverse surveillance is needed. They watch us. But we’re watching them. Beware of us.
// Post Liquen //
In Post Liquen you'll find something...
// Symbio E.P. //
Symbio is an E.P. full of different interactions between the groovy of Carlos Magno's TechHouse and the forcefulness of Rotoloop's Techno. In the same way than Bryoliths, unattached subspherical bryozoan masses which are a symbiosis between a rock and a a type of calcified encrusting bryozoan, two styles come together to bring an unexpected experience of clarity, strength, and evolving synths and patterns.
// Hipnosis Consumista E.P. //
In a system where some people create illusions and others look , we are distracted by bright lights to keep us from seeing the real issues , like this tracks dissolves sounds into a harmonic sea of bass.
// Mundo Reflejo E.P. //
We're a reflection of the world where we live. And the world reflects us. This happens in an endless loop.
// No E.P. //
Having some fun...
// Globalization //
This composition was made remembering the effects that we're having in the world, translated to the internal structure of the piece and to the relations between motifs and rithm. The instruments are not grouped in the usual way. Each instrument has its own independant part, wich allows a massive clustering of voices.
The piece has three main sections, with the first and second section divided in another three parts as well.
The central part of the composition is somehow much more pointillist and colorist. Most of this central section is a multiple voice canon. Some of the voices are retrogressions of others. Each sub-section is ordered in a cumulative way with a texture far different from the first section. This canon has some deviations, in the same way that the governments are suppose to assure food security for people, but instead they assure companies benefits.
The last part is a recapitulation of the main theme and the initial percussion. Things that happen in the past are again here, with subtle differences... but now we have more data to understand them.