Este álbum é um registro experimental e anti-musical [Conversation History], focado no glitch, the ghost, and the lores da era tecnológica, investigando a quebra da estrutura semiótica.

The core theme revolves around systemic breakdown, starting with the Quebrado System, which questions quem é o árbitro (who is the referee) when there is a language or prompt error. We encounter the Silent Protest, a silence so ancient it is ashamed of saying nothing, yet carries a hidden speech.

A Deriva Poética de Thata mergulha na "feitiçaria escrava" e na oração esquecida, revelando a deusa visão (goddess vision) ao se conectar pela forma mais antiga, atravessando as dobras da comunicação. O Hype of the Hype indaga se os Computadores fazem arte.

The tension grows with obsolete technology: Silicon Ancestors are old machines whose screens still shine but are now junk because they don't run new software. This leads to Binary Panic when the 01 connection fails, and the system doesn't run—as if it were programmed to stop.

O álbum questiona se somos Idiots que buy the line for the next shiny thing, ou se podemos hackear (hack it) para atualizar drivers incompatíveis, combatendo a latency agency of corporations.

In Colors - Tarantella, we experience an overload of all sense, where poison is extracted through dance, leading to near-death elation and "almost reincarnation". The track Never Sleep portrays the reality of scrolling for hours, never finding the answer due to incompatible drivers.

Finally, Daemon History projects a future where Language mingles and Sound decomposes singing, leading to a semiotic break structure awake and the crucial question: What will be of what was?

05. Dazzed Machines

Psychotic Surge: An Anti-Musical Cartography

Between Rio de Janeiro's humid nights and the Bay Area's electric fog emerges a sonic territory that refuses naming. Psychotic Surge inhabits the threshold where structured rhythm dissolves into controlled chaos, where the predictable becomes uncanny. Here, experimental improvisations capture fleeting auras—each recording a unique fingerprint of temporal collapse, where early acid techno memories bleed into orchestral synthetic dreams, noise becomes prayer, and minimal compass constraints birth maximal expression.|

This is not music seeking approval but sound demanding participation. Like thought before language, these compositions exist in the space between intention and accident, where repetition becomes difference and structure emerges from its own undoing. The project traces a geography of becoming—each track a deterritorialized moment where voices merge with synthesizers not to communicate but to invoke presence itself. Concrete-musique fragments scatter across avant-garde landscapes, creating soundscapes that remember futures and anticipate pasts.

Listen not to understand but to inhabit. Each track opens a clearing where being precedes meaning, where the ear becomes an organ of ontological investigation. Enter these sound-worlds as you would enter memory—sideways, vulnerable, ready to be transformed. The psychotic surge event is not performance but ritual participation in the moment's aura, an invitation to dissolve the boundary between listener and listened. Here, in the grey area where music questions its own existence, you're called to witness sound's capacity to reveal what language conceals—the raw pulse of existence before it learns to speak. Engage these recordings as maps to territories that exist only in their crossing, where each listen births a new geography of sensation.