Anim

About music

Born in ’85, I’ve always had a passion for music. As a youngster, my older brother played back black metal albums to me, and I hated that noise pollution.. A couple of years later and I started to call those albums masterpieces :)

I started to play the guitar around the age of 11, but dropped that a couple of years later. By the age of 13 I’ve got deep into metal and was amazed by the scene, but most of my friends were electronic guys. So later on, whenever I was at their house or in their cars, I was subjected to their taste in music… the bum bum bum bum, constant repetition of the exact same noises, that takes for friggin’ ever to get to nowhere. It sucked.

Ohm
But, out of all the nonsense and dullness, there was one genre that by definition is interesting: psychedelic trance. The psy scene is about interesting things.. something beautiful when absorbed in it’s detail, where art becomes subjective to the user in an ordered set of objects displayed over a medium. In this musical genre, I’ve found that every element is worked out into interesting patterns, thus captivating the users attention. You stop and listen to a sound that’s evolving in a context, where all the sounds composing the context are also evolving, in a groovy, playful kind of way.

I’ve always been able to listen to a music and deconstruct it into its elements. Being a computer geek, I knew that psytrance was made by computers, and I was handy with them. So I set out on a quest for musical enlightment, to create my own music and print out my emotions for your perception through the means of sound.

I learned by my self through trial and error, in a slow variable rate. Later on I bought an electric guitar, which helped me release my metal anger and did a huge job on making me learn music theory. I perform all the tasks on my music, from composition to interpretation, sound engineering to mastering.

Freedom Festival 2005
I’ve went to my share of parties, and I was standing in the front row amazed at the power of the artist, playing his music to us. It was all perfect, we were all communicating together and nothing else mattered. Then I started to build a comprehensive library of music and started to DJ in local parties, among well known Portuguese artists. Those artists were playing their live acts. They were clowns. Some came in, opened their laptop with Cubase, plugged in a midi controller and sound card, and pressed the spacebar. Others opened their laptop and turned it on, didn’t bother to plug in their controller, stuffed the CDJ with a cd and pressed play on the CDJ. What a ripoff! What garbage. Their is no live in that, it’s just marketing. I was doing more of a “live” while mixing tracks, then them.

Hence, I set off on a quest for live playing. I wouldn’t perform live until I can control the sound, mix and arrange everything together on stage and actually play the music. This approach let’s me manipulate the sound and, although it’s not such a “perfect” set, the people flow to the music and the music flows to the people, and the audience can hear that. If you hear a performance that is flawless, then it wasn’t performed live because humans are bound to error. I think, if I want to hear it perfect, i’d play the cd at home.

Using this approach makes me have very few tracks to release, because most of my music is composed of live set’s with elements that fit in together. I’ll be posting some tracks here, so check out the Tracks section.


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