One Man Band
With a striking but organic and velvety sounding, wild excerpts, false outcomes, slightly virtuosic insights, a hint of flamenco music and eddies of concurrent solo contributes to an environment conducive to full of subjectivity recitations and poetry with steep metaphysical and transcendental flavors, mixing the use of double meanings and neologisms, establishing visceral relationships between elements of the natural world and the human psyche and creating an atmosphere with neoclassical and absurdist psychedelically briefly dark and cloudy traces. If it were a movie one would say it is a psychological thriller.
"Just as reason was able to soothe the melancholy of Plotinus, it provides modern anguish the means of calming itself in the familiar setting of the eternal. The absurd mind has less luck. For it the world is neither so rational nor so irrational. It is unreasonable and only that. With Husserl the reason eventually has no limits at all. The absurd, on the contrary, establishes its limits since it is powerless to calm its anguish. Kierkegaard independently asserts that a single limit is enough to negate that anguish. But the absurd does not go so far. For it that limit is directed solely at the reason's ambitions. The theme of the irrational, as it is conceived by the existentials, is reason becoming confused and escaping by negating itself. The absurd is lucid reason noting its limits." The Myth of Sisyphus, Albert Camus.
"Yet it is the absurd contradiction itself, that individual who wants to achieve everything and live everything, that useless attempt, that ineffectual persistence. What always contradicts itself nevertheless joins in him. He is at that point where body and mind converge, where the mind, tired of its defeats, turns toward its most faithful ally. "And blest are those," says Hamlet, "whose blood and judgment are so well commingled that they are not a pipe for fortune's finger to sound what stop she please." The Myth of Sisyphus, Albert Camus
Perhaps the most interesting point regarding the psychedelic tone and the lack of hawsers in the mixing, comparing and questioning of ideas, rhythms and, above all, predefined and consecrated aesthetics, all of this was already inlaid in the paradigms that have influenced my work, even before I knew about the absurdity theory postulated by Camus. This was, in fact, what has really lead me through the path which revealed this theory and thus in the reading of one of the lucidest works I have ever had the pleasure of knowing. So lucid that it proves just how its opposite - the lack of senses - seems to permeate the whole existence, which has always fascinated me and keeps inspiring the psychedelic and subjective disposition of my artistic creation.