His instruments, installations and research has been presented within CTM Festival 2023 in Berlin, Goethe Institute Venezuela and within HKW Berlin, Centre Pompidou in Paris and CCCB in Barcelona through the Cultures d’avenir program.
Parallel to this, he works as a freelance IDE (Innovation design engineer), specilaizing in EdTech and HealthTech projects.
GAS Works
2024 - Present
From 1950 - late 80’s Venezuela mantained itself as one of the world’s best economies with an abismal GDP-growth potential. That period is regarded as the“The Saudi Venezuela”, referring to the oil reserves that estimualted our economy. We are now a failed nation, and I can’t help but ask myself: are we doomed by our natural resources?
In contrast with the previous EP (which is driven by compositional methodologies and systematic understanding of music) this project takes a more narrative approach by creating a sound atmosphere of a ficticious alternative Venezuela, one with a different outcome in regards to the handling of our natural resources. Based on the cover picture, the EP examines a feeling of futurestalgia that is commonly present today (”what we could’ve been! ”). A feeling I could never share, as I was born into a crisis that has only gotten worse.
On an asthethical level, this project focuses on sound design processes to create an atmosphere that evokes a phisically transitive condition like that of wind, noise or gas. Here are two of the main compositions of this EP:
Luna llena: This is the central composition of the album; it’s eerie nature drives the EP’s mood. It will be cut through 3 different parts throughout the EP in between the others songs, creating an overarching feeling of an evolving-comeback.
For this composition I sampled and reharmonized (using xenakio’s paulstretch, I Simón Díaz’s Tonada de luna llena; Long recognized as a Venezuelan folk standard of the llanera tradition, the piece’s moonlit imagery and work-song cadence are woven into the nation’s cultural memory.
2024 - Present
From 1950 - late 80’s Venezuela mantained itself as one of the world’s best economies with an abismal GDP-growth potential. That period is regarded as the“The Saudi Venezuela”, referring to the oil reserves that estimualted our economy. We are now a failed nation, and I can’t help but ask myself: are we doomed by our natural resources?
In contrast with the previous EP (which is driven by compositional methodologies and systematic understanding of music) this project takes a more narrative approach by creating a sound atmosphere of a ficticious alternative Venezuela, one with a different outcome in regards to the handling of our natural resources. Based on the cover picture, the EP examines a feeling of futurestalgia that is commonly present today (”what we could’ve been! ”). A feeling I could never share, as I was born into a crisis that has only gotten worse.
On an asthethical level, this project focuses on sound design processes to create an atmosphere that evokes a phisically transitive condition like that of wind, noise or gas. Here are two of the main compositions of this EP:
Luna llena: This is the central composition of the album; it’s eerie nature drives the EP’s mood. It will be cut through 3 different parts throughout the EP in between the others songs, creating an overarching feeling of an evolving-comeback.
For this composition I sampled and reharmonized (using xenakio’s paulstretch, I Simón Díaz’s Tonada de luna llena; Long recognized as a Venezuelan folk standard of the llanera tradition, the piece’s moonlit imagery and work-song cadence are woven into the nation’s cultural memory.
Project cover image: Matúškovo gas station and the night. Picture taken by Tomáš Souček, edited by me. All rights reserved.
Berlin 2018-2023 Compilation (EP title TBC)
- 16.10.20: This track was collaboratively composed with Mixhael Offenbacher utilizing a still-evolving custom Ableton session view recording preset I designed. It aims to utilize Ableton as a looping station with multiple clocks, essentially a multipayer looper.
- 16.10.20: This track was collaboratively composed with Mixhael Offenbacher utilizing a still-evolving custom Ableton session view recording preset I designed. It aims to utilize Ableton as a looping station with multiple clocks, essentially a multipayer looper.
