the metal pipe 😭😭😭💀💀💀💀

firmament's armament_20230225

lizzie mcguire movie

Waterbolt Revival

@kageidk
out now on saturate records: https://soundcloud.com/saturaterecords/va-k-a-g-e-l-u-n-e-remixes-08-k-a-g-e-l-u-n-e-habiboi-remix

KAGE - LUNE (habi's lunar gardening remix)

sonobussy

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Untitled Project - 2023 - Aug - 14 8

old thing for which i have no plans. still in sad sack mode so this is all you get

still life

J'entend des ptn de bruit

Chnateklaire - J'entend des ptn de bruit [FREE DL]

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.

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