Melodic Hitechtrance from central switzerland.

Enjoy, and share if you like our work 🙏❤️



Arkasha & Slaystation - Illegal Rave 195

167 bpm to 181 bpm .The Archaic Revival  is a phrase  by Terence McKenna to define what he saw as a 20th century movement and return to the spiritual and ecological sensibilities of Paleolithic and Neolithic plant based shamanism.   .Have a blast .      Hari om.

Archaic revival

Diamante negro

https://pirka.bandcamp.com/album/va-pirka-stories-part-3-prk035

@adrianhomadar
@daylomar
@pirka-avh

Premiere : Adrianho & Daylomar - Can't Touch (Teluric Edit) (PRK035)

Usuario: René Roco (https://soundcloud.com/reneroco )

Formato: Live set

Elemento: Azufre

Descripción: El azufre es un elemento químico con símbolo S y número atómico 16. Es un no metal abundante en la naturaleza, de color amarillo brillante y con un olor característico cuando se quema. Se encuentra en estado puro cerca de zonas volcánicas. Es esencial para la vida, ya que forma parte de aminoácidos y vitaminas. Industrialmente, se utiliza en la fabricación de ácido sulfúrico, fertilizantes, productos farmacéuticos, fungicidas y en el procesamiento de caucho. En la alquimia tradicional, junto con el mercurio y la sal, representa uno de los tres principios básicos: el alma o la esencia activa. En rituales de limpieza energética, el azufre en polvo se ha utilizado para proteger espacios, cortar energías negativas y purificar ambientes cargados.

René Roco es artista, productor, compositor y docente radicado en Santiago de Chile. Su trabajo explora los límites de la música electrónica contemporánea, transitando por géneros como electrónica, IDM, techno, psy, pop, metal y diseño sonoro. Ganador del Premio Pulsar 2021 como Mejor Artista Electrónico, cuenta con una discografía que incluye 26 lanzamientos entre LPs y EPs, editados por sellos como Modismo, Pueblo Nuevo y Artificial Domain (España). Actualmente, dirige https://soundcloud.com/tensarecords , sello y estudio enfocado en la producción, mezcla y masterización de música electrónica, y forma parte del colectivo sonoro https://soundcloud.com/potenciometro-music .

René Roco - Azufre (052)

Usuario: Findemundo (https://soundcloud.com/findemundoxxx)

Formato: Digital set

Elemento: Arsénico

Descripción: El arsénico es un elemento químico con símbolo As y número atómico 33. Se clasifica como un metaloide, encontrándose en la naturaleza principalmente en minerales combinados con azufre y metales. De aspecto gris metálico en su forma más común, ha sido utilizado históricamente en pigmentos, pesticidas y aleaciones, aunque hoy su empleo está limitado por su toxicidad. Actualmente se usa en la industria del vidrio, la metalurgia, la preservación de maderas y en pequeñas cantidades en semiconductores y dispositivos electrónicos. En el plano esotérico y simbólico, el arsénico representa la dualidad entre veneno y medicina, destrucción y purificación, funcionando como metáfora de transformación y renovación. Se le vincula con el poder oculto de la energía y con la reflexión sobre el equilibrio entre luz y sombra, evocando la necesidad de un uso responsable de aquello que, en exceso, puede ser destructivo, pero en equilibrio puede abrir caminos de cambio.

Findemundo es el alias de Fabián Meric S., DJ y productor nacido en Santiago de Chile en 1993. Inició su carrera en 2011 musicalizando reuniones y fiestas informales, para luego expandirse a ferias y clubes de la capital como Mamba, Club Vita y La Matrix, además de presentarse en Barcelona en 2023 y colaborar con radios internacionales como Wide Radio (UK), DNTFCK (MX) y Jerome (CA). Su estilo se caracteriza por la improvisación y la mezcla de sonidos atemporales que fluyen sin guiones previos, explorando influencias que van desde el house, el Detroit/Chicago techno y el deep house hasta el acid, progressive, electro y hardhouse. En sus producciones mantiene la experimentación como sello, buscando un sonido que escapa a categorizaciones; en esta ocasión elige al arsénico como referencia simbólica por su versatilidad y múltiples formas, cualidad que refleja en los matices y transformaciones de su mixtape grabado en CDJs 850 Pioneer y mixer DJM 350.

Master: https://soundcloud.com/colmorecords

Findemundo - Arsénico (059)

ALIEN CHAOS @ MASTERS OF PUPPETS 2025

El americio es un elemento químico con símbolo Am y número atómico 95. Es un metal radiactivo plateado, perteneciente a la serie de los actínidos, descubierto en 1944 en Estados Unidos durante investigaciones con plutonio. No se encuentra de forma natural en la Tierra, sino que se produce artificialmente en reactores nucleares mediante el bombardeo de uranio o plutonio con neutrones. Sus aplicaciones más conocidas son en detectores de humo, gracias al isótopo americio-241, además de usarse en instrumentos de medición de densidad y en estudios científicos sobre la radiactividad. Desde una mirada esotérica o simbólica, el americio se asocia con la vigilancia, la protección y la transformación, aludiendo a su capacidad de activar procesos invisibles que resguardan la vida, convirtiéndose en un símbolo del poder oculto de la energía y de la necesidad de manejarla con respeto y equilibrio.

Cyborg Project emula metafóricamente al Americio (Am), elemento radioactivo cuya naturaleza es emitir energía de manera espontánea. Lo radioactivo, entendido como la propiedad de los átomos inestables de transformar liberando radiación, se convierte aquí en figura poética de lo inestable, lo mutante y lo energético.

Bajo esta dinámica, el proyecto ciborg se presenta como un laboratorio conceptual, donde la artista, antropóloga y ser social, Angela Morales (Am) experimenta con arquetipos y alter egos que, de manera espontánea y energética, trazan ruteos sonoros que devienen en la creación de recorridos musicales y conceptuales. De esta experimentación surge un estilo propio, el “Elektro Simbolismo”, un espacio simbólico radicalmente libre desde el cual pensar, expandir y vivir la disidencia, se caracteriza por la apropiación del glitch, concebido como herida estética y prótesis sonora. En este gesto, los sonidos se transforman en música, y ésta a su vez en símbolos que componen una propuesta contracultural basada en lo Cyborg, como concepto filosófico y figura política feminista, ofrece aquí la clave para desestabilizar dualidades de género y abrir horizontes críticos.

La máquina —originalmente pensada como extensión del poder tecnocapitalista— es reapropiada no como simple mezcladora, sino como una prótesis, un instrumento musical mediante el cual descuartiza y reconfigura lo sonoro, democratizando la música electrónica y reclamando la libertad de utilizar la tecnología para expresar sus propias creencias, necesidades espirituales y sociales.

AM lab

En este extracto trabajo una técnica basada en micro-looping y granular behaviour usando la RX3.
Parto un track en BPM extremo (666) para estirarlo y esculpirlo como materia sonora.
En un deck reduzco el loop desde su rango más amplio hasta un micro-loop casi granular; en el otro deck hago el proceso inverso, expandiendo desde un grano mínimo hacia el loop más grande.
Esta fricción entre macro-loop y micro-loop, sumado a drones y oscilaciones, genera una textura que se mueve entre lo mecánico y lo ritual.
A este enfoque lo llamo Electro Simbolismo: manipular el tiempo como cuerpo, deformar el audio hasta convertirlo en símbolo y vibración.

Cyborg Jocker

December Dj set

CYBORG PROJECT – Elektro Simbolism
Technical and Conceptual Description of the Process
CYBORG PROJECT is a sonic performance and experimental DJ set that intersects high-BPM electronic music, advanced time manipulation, and deep listening practices. My work does not rely on traditional beatmatching, but rather on sculpting sound as living matter, approaching the set as a process of continuous transformation rather than a linear sequence of tracks.
The approach I develop is called Elektro Simbolism: a methodology in which frequency, timbre, and the perception of time operate simultaneously as symbolic and technical devices.
Technical Process of the Set
I work primarily with Pioneer RX3, Elektron machines, and external/pre-processed sound through a DAW. The set often begins with a hi-tech or psycore track pushed to the maximum BPM allowed by the system (up to ~666 BPM). Instead of using this BPM as a functional rhythmic speed, I treat it as a point of rhythmic dematerialization, where the beat ceases to be perceived as pulse and starts operating as texture.
From this extreme state, I perform an inverse process of temporal carving:
progressive BPM reduction,
micro pitch adjustments,
exploration of digital artifacts,
until the audio is brought into liminal zones between rhythm, noise, and oscillation.
Use of Loops and Granularity
A central technique within Elektro Simbolism is the simultaneous use of pre-set loops on the RX3 across both decks, treated in a mirrored manner. On one deck, the track is looped from wide loops down to microscopic loops, progressively reducing their length. On the other deck, I perform the inverse process, moving from micro-loops toward longer loop structures.
This crossing generates phenomena akin to granular synthesis within a DJ context, where extremely short fragments of audio are isolated based on timbre, texture, or internal resonance, and transformed into rhythmic materials, drones, or oscillations. The loop ceases to function as a repetition tool and becomes a sonic microscope.
Drones, Oscillations, and Frequency
The set incorporates drones and oscillatory layers that function as a continuous field over which rhythmic events emerge and dissolve. These layers are not conceived as “ambient” elements, but as background tensions that sustain the body of the set, even at extreme BPM levels.
I consciously work with:
slow oscillations,
internal modulations (LFOs),
sub-rhythmic vibrations,
which engage in dialogue with concepts such as resonance, trance, and the bodily perception of sound (for example, frequencies close to theta states, without seeking a literal translation).
Body–Machine Relationship
Elektro Simbolism does not aim to recreate rituals or “tribal” aesthetics, but rather to investigate how technology produces specific bodily states. The body of the audience—and my own—is understood as a sensitive system that responds to:
spectral density,
extreme repetition,
sustained vibration,
the collapse of the traditional pulse.
The result is a set that oscillates between contemporary ritual, sound engineering, and performance, where error, digital artifacts, and saturation function as active elements of the discourse.
Synthesis
Elektro Simbolism is a practice in which:
BPM is used as a plastic material,
the loop functions as a tool for microscopic analysis,
the track operates as an energetic field,
and the DJ set becomes a process of real-time mutation.
I do not seek to reproduce genres, but to intervene in them from within, pushing them toward their perceptual limits.

NUNCA JAMÁS II

Cyborg Project presents itself as a conceptual laboratory where the artist, anthropologist, and social being Angela Morales Hormazábal experiments with archetypes and alter egos. Through spontaneous and high-energy processes, she maps sonic routes that evolve into both musical and conceptual journeys. From this experimentation emerges a distinct aesthetic language: Elektro Simbolism.
Elektro Simbolism functions as a radically free symbolic space from which to think, expand, and inhabit dissidence. It is characterized by the appropriation of glitch, understood not as an error but as an aesthetic wound and a sonic prosthesis. Within this framework, sound transforms into music, and music into symbols, shaping a countercultural proposal grounded in the Cyborg—not only as a philosophical concept, but as a feminist political figure capable of destabilizing gender dualities and opening critical horizons.
The machine—originally conceived as an extension of technocapitalist power—is reclaimed not as a simple mixing device, but as a prosthetic instrument. Through it, sound is dissected and reconfigured, enabling a democratization of electronic music and asserting the freedom to use technology as a medium for expressing personal beliefs, spiritual needs, and social realities.
Cyborg Project unfolds across multiple layers that explore libertarian and experimental approaches, including the creation of fanzines, conceptual art, and sonic convergence. In parallel, the project is actively involved with the Gonzalo Rojas Cultural Center, providing live sonic frameworks and musical environments for all artistic activities developed within the space.
Angela Morales Hormazábal is an anthropologist, holds a Master’s degree in Family Studies, and has postgraduate training in Gender Studies, GIRH, and Public Policies, among other fields. She brings with her a musical trajectory that dates back to 2002, when she established herself within the Punk Rock scene through the HXC/CRUST project “Estoyhartx” (Masapunk Records, Maldita Cruz, Ikonos Kebrados, and Plan Z Distro). Since then, she has remained deeply engaged in the ongoing search for and creation of an authentic and personal sonic language.
In 2017, Angela made a radical shift by launching her project “Cyborg Witch”, becoming part of the High Psy collective. Cyborg Witch is a project charged with energy and mysticism, presented as a DJ set that combines fast, pulsating, and immersive rhythms. Drawing inspiration from Dark Psy, Hi-Tech, and other electronic music currents, it offers a sonic experience that goes beyond the conventional, leading listeners on a transformative journey through hypnotic and performative soundscapes.
Currently, music and anthropology converge in the creation of a countercultural space known as Cyborg Project. This project presents a performative freestyle musical proposal, playing with BPMs, tonalities, and multiple sonic combinations, all executed through the machine as a central instrument.
CYBORG PROJECT – Elektro Simbolism
Technical and Conceptual Description of the Process
CYBORG PROJECT is a sonic performance and experimental DJ set that intersects high-BPM electronic music, advanced time manipulation, and deep listening practices. My work does not rely on traditional beatmatching, but rather on sculpting sound as living matter, approaching the set as a process of continuous transformation rather than a linear sequence of tracks.
The approach I develop is called Elektro Simbolism: a methodology in which frequency, timbre, and the perception of time operate simultaneously as symbolic and technical devices.
Technical Process of the Set
I work primarily with Pioneer RX3, Elektron machines, and external/pre-processed sound through a DAW. The set often begins with a hi-tech or psycore track pushed to the maximum BPM allowed by the system (up to ~666 BPM). Instead of using this BPM as a functional rhythmic speed, I treat it as a point of rhythmic dematerialization, where the beat ceases to be perceived as pulse and starts operating as texture.
From this extreme state, I perform an inverse process of temporal carving:
progressive BPM reduction,
micro pitch adjustments,
exploration of digital artifacts,
until the audio is brought into liminal zones between rhythm, noise, and oscillation.
Use of Loops and Granularity
A central technique within Elektro Simbolism is the simultaneous use of pre-set loops on the RX3 across both decks, treated in a mirrored manner. On one deck, the track is looped from wide loops down to microscopic loops, progressively reducing their length. On the other deck, I perform the inverse process, moving from micro-loops toward longer loop structures.
This crossing generates phenomena akin to granular synthesis within a DJ context, where extremely short fragments of audio are isolated based on timbre, texture, or internal resonance, and transformed into rhythmic materials, drones, or oscillations. The loop ceases to function as a repetition tool and becomes a sonic microscope.
Drones, Oscillations, and Frequency
The set incorporates drones and oscillatory layers that function as a continuous field over which rhythmic events emerge and dissolve. These layers are not conceived as “ambient” elements, but as background tensions that sustain the body of the set, even at extreme BPM levels.
I consciously work with:
slow oscillations,
internal modulations (LFOs),
sub-rhythmic vibrations,
which engage in dialogue with concepts such as resonance, trance, and the bodily perception of sound (for example, frequencies close to theta states, without seeking a literal translation).
Body–Machine Relationship
Elektro Simbolism does not aim to recreate rituals or “tribal” aesthetics, but rather to investigate how technology produces specific bodily states. The body of the audience—and my own—is understood as a sensitive system that responds to:
spectral density,
extreme repetition,
sustained vibration,
the collapse of the traditional pulse.
The result is a set that oscillates between contemporary ritual, sound engineering, and performance, where error, digital artifacts, and saturation function as active elements of the discourse.
Synthesis
Elektro Simbolism is a practice in which:
BPM is used as a plastic material,
the loop functions as a tool for microscopic analysis,
the track operates as an energetic field,
and the DJ set becomes a process of real-time mutation.
I do not seek to reproduce genres, but to intervene in them from within, pushing them toward their perceptual limits.

NUNCA JAMÁS II

Cyborg.project

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