samples:
21 Savage - Pimp
Doja Cat - Down Low
Doja Cat - Addiction
among other things

guitar by gugen
art by gugen

YES THAN ZERO PROD GUGEN

3) kabelsalat

deal

PROLAPSE

blaahhhhh

Dear all, 

For the DEMONICA episode of my latest 'new mixes series', I must first say that I'm above all thankful for all the opportunities I have been given as a creative person within certain dance music scenes and communities all over the world. 
Then, I can now say something that is weird but I must let out of my chest which is: all the recognition that my work brought me is just a matter of empathising, connecting and feeling accomplished by my capacity of doing it at times, and the love you get, sometimes! The actual accomplishment would be always surviving that day.

I was also most of the times sleep deprived, sad, in rage, when I was working on my most successful mixes or productions and if I "prayed to my hopes" too hard they would eventually become featured in the catalog of a label I loved or appreciated by a digital crowd. Well...this is trick as it sounds I don't recognise the appreciation - but what is appreciation if I wasn't very appreciative of my work myself? I'm not devaluing the power of making our dreams happening by having recognition but one thing I know about my work and emotional life for sure is that I don't like navigating these experiences this way and sitting down producing or working because my break has been too long.

Throughout these weird times and lack of emotional and home stability I had to sell a lot of my gear that was allowing me to produce the way I like, which either I get again or challenge myself to new ways of working, and I'm doing the last option. Am I also exhausting myself because I want more work produced, more recognition, more projects out? No. And I'm finally working a regular job at the same time.

There's no idea of success if you don't touch someone's heart with your artwork and from bringing a certain energy to the table - I may have failed here but I also know I have had the chance to pay many homages during almost 6 years of thinking of making 'something musical' and never forgetting any of the sound houses I passed by. I'm also done with this idea of making music or DJing that sits on a daily routine. As I have a pretty normal life and can only mix with my tablet's bluetooth mouse I brought to you a very DEMONICAL  set to give a bit of the old energy but with a new, totally imperfect, not so conscious button clicking approach - 0 mixer.

Enjoy the noisy ride! :) At the end, what is feeding the ego the most a blurred idea of consistency or dropping everything to do what the body and mind align with and allow?

DEMONICA

elephants VS wizard

csepel

DIMMER (VIOLENCE)

AFTERS

https://www.instagram.com/cheyenne.cunning?igsh=bjZ5Z280dG12YTYy

Rose Sousa (he/she/they), born in Porto in January 1998, is a multidisciplinary artist whose work thrives at the intersections of music, visual art, and community. 

Rooted in the underground, Rose explores themes of occupation—reclaiming abandoned spaces, rethinking how we occupy our time and bodies, and fostering coexistence through bold, forward-thinking projects and discussions. Their practice challenges capitalist norms by focusing on decentralization, self-hosting tools, and alternative systems that prioritize accessibility, collaboration, and collective growth in the digital and music industries.

Rose’s creative journey began in London, inspired by HTBX, a club night and collective offering safe spaces for underground communities, and currently led by Becky Stroke, as well as KAOS and INFERNO. These experiences ignited their passion for music as a vehicle for storytelling and experimentation. 

After two-years and while returning to Porto, where they honed their technical skills as a student of DJ morrice, they developed a distinctive sound characterized by eclectic style-mixing, ambient textures, and deliberately broken patterns while keeping a certain tone to their compositions. Their immersive soundscapes challenge conventional structures, focusing on narrative and innovation, being a formal way of learning the only chance they had to touch properly working DJ gear.

In Lisbon, Rose cultivated an archival music practice designed to evoke emotion and foster learning. They performed at venues like Ministerium Club, NADA, NAV, and Prisma, using various aliases to explore diverse styles. Under their alter-drag-act DYSPHORICA, they embraced dark, raw queer industrial techno in collaboration with Asterisco Colectivo and SUBVERTED, both queer led plartforms, which opened the most significant music paths for them. Rose’s influences include artists and initiatives such as Codex Empire, Ancient Methods, Vatican Shadow, marum, CHLAMYDIA, Nicki Black, Lesser Of and SNTS.

Deeply involved in community-driven initiatives, although not a body to be counted and surveilled, Rose co-founded FAMINTA, a queer repository, music label and forum that connects electronic music and radical clubbing practices. Through FAMINTA, they hope to foster knowledge-sharing, resource exchange, and collective action to redefine the future of club culture, prioritizing inclusivity and collaboration instead of gatekeeping. They also support bedroom DJs resisting burnout and fleeting fame, embodying their mission to dismantle the "star DJ" archetype in favor of smaller, more inclusive events and collectives.

Drawing inspiration from collaborators like João Desidério and RV3IVM, as well as personal figures like their grandmother, mother, and stepmother, Rose weaves emotion and experimentation into their multidisciplinary practice. As a creative director, they continue to nurture boundary-pushing art, guiding new talent, and promoting diverse artistic expressions across the scene.

Rose’s work celebrates the power of collective action, challenging rigid norms in both music and design while creating platforms for transformative discussions and bold, sustainable futures.

contemporary internet archive
on/offline sketchbook records
trash but make it à la poubelle

Das Sound-Performance Trio „Sneila“ vom Planeten „Kakek 22“ besteht aus Mario Scialdone, Unfassbarer Materie und Eva Talesia Maspoli. Sie begegneten sich auf der hinteren Milchstrasse.
Gemeinsam kreiren und tauchen sie in das kosmisches Chaos vom rythmischem Noise, Alltagsgeräuschen und fremdartigen Syntesiser Sounds. Daraus schälen sich Geschichten die vom Sterben, vom sich Auflösen und dem Schmerz, aber auch vom Leben, der Liebe und der explosiven Energie erzählen heraus. 
SPACEPUNK (Tragic Punkschlagermetal, we are so bad in love that it hurts).

Bookings: sne.ila.22kakek@gmail.com (funerals, art spaces, rituals, concerts, lullaby stories)

New tracks tagged #noise