Sound piece composed with material recorded at the Worm Studio, in Rotterdam.

For (“Minhoca” - Worm, in Portuguese) the recordings used came from the EMS Synthi A, the Blippoo Box, Roland TB-303, the Fenix, The ARP Odyssey and 2600, Yamaha CS10 and CS60, Oberheim SEM, KORG SQ1, MS20 and Polyphonic, the eurorack modular (Collide 4, specifically) and the BME Axiom.

This album, like many that preceded it, was at rest. It lacked a name, a cover, and a few other adjustments in the edition. Such was the foresight.

During a short walk, I noticed a small piece of paper with an inscription in red, faded by the rain. It read “Trassed Paths.” I continued my hurried pace until that message echoed in my consciousness. Before the spelling mistake, I wrestled with the ambiguity of the tracing. Would it be delineated/determined or scratched/furrowed?

How fitting for this album, what a scar!

The tracks are uncertain, pointing in improvised directions, paths full of erasures that are invented as you walk. Take advantage of the momentum!

The missing “C” became an oracle!

The paths are not traced beforehand, they are scratched hastily or blindly, like a gutter, on surfaces that did not ask to be maps.

This trail is noisy, erratic, unconventional music – beautiful for getting lost in the “glitch” that becomes a star.

Found on the street. Uncorrected.

Error is the path!

Proof of Concept

Fireworks in Porto

Track out of "Aiii"

"zzaj" is an exercise on jazz turned inside-out - an intentionally irreversible inversion. This sound piece begins with recordings of broken and malfunctioning instruments, capturing unstable and degraded sound at the source. These recordings were then shattered further through granular sampling, reducing the material to splintered fragments. Improvisational gestures emerge in erratic, collapsing grooves, tracing the slow corrosion of both matter and sound.

sanding by ocp

This album was recorded at Sonoscopia, a collective/association located in Porto, Portugal, dedicated to experimental music, using their vintage electronic music studio.

The gear includes vintage test equipment, ranging from function and noise generators to filters, lock-in amplifiers, multiplexers, and pattern generators from reputed brands such as Brüel & Kjaer, Rohde & Schwarz, Hewlett Packard, and Siemens.

This approach to sound design and the act of playing such equipment has a ritualistic quality. Standing up and down, moving left and right, navigating the large knobs, and changing patch cables resembles an exquisite dance.

This process is part of the ongoing journey of learning and experimentation in working with the studio and its equipment—a moment of reflection and growth.

Inspirado na lenda da criação do mundo segundo a tradição do povo nagô.

E (se) depois do adeus...