The author of Viva 2020 (E6P2.4), Opus Vivaldi, has surprised us once more with his new album, ANTOLOGÍA SIGLO XXI. It is a short miscellanea (only 90 minutes FNORD) collection of the best tracks, rarities, and unreleased material from this obscure and mysterious artist. It includes digital covers of The Velvet Underground, Jimi Hendrix, Suicide, and John Coltrane.

His music has traveled (reinventing and agglutinating in a sui generis way) genres such as dirty rockandroll, noise pop, MIDI jahzz, industrial, anti-music, acid folk, hypnagogic pop, krautrock, flirtations with vaporwave; baroque ‘pataphysical compositions, messages from The Media Foundation; and, hey, a hint to Stevie! Cyberpunk, XTC, Kraut-rave, and More. And everything comes back to his particular review of classical music under the digital and electronic prism, under the influence of memes, or new experiments with sampledelia and synthesizers; all this permanently imbued with the revolutionary spirit typical of surrealism, the most marginal and hidden counterculture, and a marked futuristic and cyberpunk character.

<<The apocalypse is not something which is coming. The apocalypse has arrived in most parts of the planet and it's only because we live within a bubble of incredible privilege and social insulation that we still have the luxury of anticipating the apocalypse.>> (T. McKenna)

With classical music studies, he collects under his signature hundreds of references on national and international labels such as Nyapster, Emty6pack, San José Tapes, Pedicure Records, Not Working Tapes, Ingrown Records or AMDISCS, among many others.

After nearly two decades of career, Erik Hurtado's extensive work constitutes an unattainable Corpus that is NOT limited to the strictly musical field but has explored and continues to explore various aesthetic areas and disciplines, such as collage, VideoArt or, more recently, AI experimentation. Hurtado has always operated under many different conceptual aliases, from Opus Vivaldi to Pseudo-Novalis, among others.

Since 2020, he has collaborated closely with the pataphysical collective Pata-No UNLTD (Texas) and their transmedia project "TOO COOL". 

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