I Dedicate in order to Beautify
Universalising Art
I seal the store of Elegance
with the crystal tone of Cooperation
I am guided by the power of Universal fire
I am a galactic activation portal Enter me

-Mágia (Phrenetic Tales Records)2012
-Dessert Mirrors EP (Phrenetic Tales Records)2012
-Projections (D-A-R-K Records) 2013
-Parallel Fantasies (Indie)(bandcamp)2019


kujatamusic@gmail.com contact/bookings

When there was no heaven,
no earth, no height, no depth, no name,
when Apsu was alone,
the sweet water, the first begetter; and Tiamat
the bitter water, and that
return to the womb, her Mummu,
when there were no gods- 

Joan Gosa A.K.A Terpsícore Τερψιχόρη.
Aedo who like to make noise. 
Most intrested on darkpsy, high-tech, psycore. 

Los dioses, al fin y al cabo, reflejan las modas de su tiempo.

Quizá tenga la oportunidad de descubrir nuestro néctar divino. Del cual solo baste un sorbo para sentirse inmortal.

For the moment I’m hanging on Querétaro, México. If you ever come, rich me out. We will have fun.

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.

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