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Vision Fiberoptics ft Sean Haefeli

🎶 Mestizo Tribute to Gilbert Favre el gringo de Sagarnaga

MARIO & Collettivo Undersound

❤️ I’ve always loved Gilbert Favre.  Even if, for a long stretch of my life — the part where I chose to be heterosexual and walk beside Barbara Erskine — I had to be jealous of a ghost.Barbara was Gilbert’s wife. This year, the grandchildren are arriving: the twins and little Jona.I met them when they were smaller than my own granddaughters. Life moves in spirals, and somehow we all keep meeting again inside the same melody.

🎼 Who Gilbert Favre Really Was

🎵 Gilbert Favre (1936–1998) was a Swiss clarinetist trained at the Conservatory of Geneva.But his life changed when he traveled to South America as assistant to ethnographer Jean Christian Spahni.There, in the Bolivian altiplano, he discovered the quena, the Andean flute that would become his voice.

🏛️ In La Paz, he founded La Peña Naira, a cultural cabaret near Plaza San Francisco.It became a sanctuary for diplomats, artists, poets, and musicians searching for a new Bolivian identity.

🎶 Favre co‑founded Los Jairas, one of the most influential groups in the history of Andean music.Their fusion of traditional rhythms with modern arrangements helped launch the neo‑folklore movement, inspiring countless musicians across Bolivia, Chile, Peru, France, and Switzerland.

🌄 He collaborated with legendary artists of the Andean renaissance, shaping a sound that still echoes today in festivals, conservatories, and street corners from La Paz to Paris.

💔 Violeta Parra and the Desert

Gilbert’s life intertwined with that of Violeta Parra, one of Latin America’s greatest artists.Their love was passionate, volcanic, and ultimately tragic.After their final rupture, Violeta wrote “Gracias a la Vida”, one of the most iconic songs in world music.

🌵 The story goes that she left him stranded in the Bolivian desert —no water, no cigarettes, only the wind and the quena.

🌬️ Why Our Lives Mirror Each Other

In some strange way, our paths resemble each other.The only difference is: Gilbert was confident. I was a mess.But music — and life — were our common denominator.

🌬️ We were both sons of Pan.Children of the wind.Nomads of sound.

🌍 Moisdon‑la‑Rivière: The Last Chapter

Today, in France — precisely in Moisdon‑la‑Rivière — Gilbert Favre is still celebrated.Not as a ghost, not as a myth, but as a rebellious musician, a philosopher of the cosmos, a seeker of ancient truths.

🪈 A flutist who carried the Andes in his breath.A mestizo of spirit long before the word became fashionable.

✨ Why This Album Exists

In this strange, attentive, and synchronistic year, we decided to dedicate an entire space to Gilbert.

In this album, we’ve woven together:

    🎸 fretless bass
    🪕 saturated sitar
    🎶 pan flutes
    🥁 zydeco‑inspired percussion
    🌗 modal mestizo harmonies
    🔥 acoustic trance textures

🌌 The Meaning of “Mestizo”

The title — Mestizo — comes from the Spanish word for “mixed blood.”Once used as an insult, here it becomes a badge of honor.

Because maybe the truth is:✨ Only the vagabonds of the stars can truly be mestizos.

mestizo

je sais

🌑 ALBUM PRESENTATION — “The Land of Incense”
🔥 A cross‑continental ritual told in French, Vietnamese, and bass frequencies
🌍 A Journey That Became a Language

“The Land of Incense” isn’t just an album — it’s a threshold.
Mario doesn’t travel through Southeast Asia as a tourist; he moves like a sensor, absorbing layers of scent, neon, humidity, and memory.
This record is born where geography dissolves and becomes perception.

It’s an album that breathes like a DSLR camera at night —
grainy, intimate, close to the skin, capturing the world in fragments of light and shadow.
🎸 A Sonic Architecture Built on Minimalism

At the core of the album lies a musical philosophy inspired by that psychedelic Texas trio known for reinventing global minimalism —
not quoted, not imitated, but echoed.

The foundation is unmistakable:

    🎚️ Fretless saturated bass — serpentine, warm, hypnotic

    🎸 Minimal electric guitar — clean, liquid, shimmering

    🎧 Turntable textures — scratches like blades cutting through humid air

    🥁 Dusty drum machines — slow, ritualistic, breathing like a street at dawn

    🎼 Vietnamese instruments — đàn bầu, đàn tranh, bamboo percussion

Every sound is a doorway.
🇫🇷🇻🇳 Why French? Why Vietnamese?

Because this album isn’t about “world music.”
It’s about worlds layered on top of each other.
🇫🇷 French

The language of balconies, old radios, colonial ghosts, and neon rain.
It carries nostalgia, elegance, and a cinematic melancholy.
It represents the upper layer of the city — the rooftops, the reflections, the memories.
🇻🇳 Vietnamese

The language of markets, incense smoke, riverbanks, and motorbikes at midnight.
It vibrates like bamboo drums and street vendors calling through the heat.
It represents the ground layer — the earth, the sweat, the pulse.

Together, they form a dual‑layer narrative, like two friends walking the same night in two different tongues.
🛕 A Ritual in Motion

This album doesn’t sit still.
It walks.

It walks through:

    🏮 Narrow alleys glowing with red neon

    🛕 Old temples breathing incense

    🐦 Memories of Pompei and childhood birds

    🛵 Motorbikes slicing through humid air

    🎤 Street‑level rap whispered like a confession

    🪕 Banjo lines that feel like ancestral threads

    🔥 Mantras invented from pure instinct

It’s a diary, a rite, a night‑walk, a glitch in the matrix of the city.
⚡ The Heart of the Project

At its core lies a simple, luminous idea:

Life is a river, and we are feathers learning to follow its current.

The mantra — Mama baba, mama lehna, mamma nena —
is not tied to any culture, and precisely for that reason,
it resonates with all of them.

It’s a call to return, to wander, to rise, to breathe.
🌌 Conclusion

“The Land of Incense” is not an album you listen to.
It’s an album you enter.

A place where:

    languages become rivers

    bass becomes gravity

    neon becomes memory

    and every step becomes a sign

It proves that music can still be a location,
a ritual,
a map of the soul.


titmanakka

🎧 Frattalismo in Sinestesia Amplificata

MARIO and the DDDEMONS

🌀 Every spark is a universe.  
This album expands from a single center — a fretless bass line ascending in minor pentatonic, opening into major light. A distant dry beat pulses from the right, slowly approaching the center like time syncing with perception.

🎸 A five-string banjo arpeggiates all senses, imperfect and raw, then transforms into orchestral bloom.
🎻 Violins rise in dorian spirals.
🎹 A cascading piano descends in Mixolydian, like gravity made audible.
🎛 Saturated timbres blur the edges: is it a banjo, a sitar, a guitar, a glitch? You don’t know — and that’s the point.

🌞🌙 The sun and moon alternate as sonic layers, marking inner days and nights.
🧠 It’s not a melody — it’s a field.
Not a song — a system.
Not a genre — a ritual.

✨ Fractal music for minds that expand sideways.  
Welcome to the quadriphonic brain.
Welcome to the ritual.
👤 Artist Bio — MARIO and the DDDEMONS

Nomadic architect of sonic systems, ritual coder, and mythic operator of perceptual frequencies.
MARIO builds music like he builds bash scripts: recursive, modular, and emotionally architectural.
His compositions are not linear — they are fractal expansions from a central pulse, blending banjo, fretless bass, orchestral bloom, and saturated ambiguity.

The DDDEMONS are not a band — they are echoes, functions, avatars of sonic archetypes.
Together, they channel a language where every sound is a portal, every error is sacred, and every track is a ritual of resonance.

🎛 Bash logic meets musical intuition.
🎧 Roots-reggae meets cosmic orchestration.
🌀 Fractals meet emotion.


RAIN CONSCIOUSNESS ENGINE

fire and water A side

fire and water B side

caffe quantico

EP: Volavo su Algoritmi Cosmici  
Artist: Collettivo Undersound  


We are a scattered swarm of hacker-demons, drifting through the folds of a malfunctioning mind that connects nightly at 3:33 AM—the darkest hour—to IPFS, downloading vibrations like sacred code. It takes us 4 or 5 seconds to master a track, thanks to a bash script that catches the click at the exact frame—millisecond precision, hair-trigger LOL.

So no, we’re not here to “sell” music. We believe music is more important than any fictitious market. For us, music is an operating system for communicating with parallel universes. Sounds philosophical? It’s not. It’s daily ritual. We use words differently, so don’t expect “normal” music.

We dance between Lung Thung atmospheres and Zurich squat punk, glide through jazz with ease, and dive into Middle Eastern folk with overtuned vocals and shamanic drums. Music is a full-spectrum sensory manifestation—we can’t stop creating it.

This EP marks our entry into fractal composition, deeply tied to the signals of conceptual synesthesia. We’ve shifted to a sensory level, composing fractal music through sacred geometry, universal pulses, and evocative instruments.

The track was written by our producer Mario Marco Farinato, during a journey between hell and paradise. He introduced it with these words:

    “I was suspended. Beneath me, it was hell. But I was flying on cosmic algorithms.”

What can you do in the face of such phrasing? It’s pure poetry. It’s surrender. Whether you burn or not—we’re flying.

We present this double single:

    The original version, distributed by Beòlieve (dropping tomorrow LOL)

    The remastered version, compact, reverberated, open—epic.

Tell us which one resonates. We love the rawness of the original, especially the bass guitar’s breath. But the remaster? It’s a cosmic punch. You want to hear it again.

And for us, that’s the point. These are emotions. And emotions can’t be sold. Maybe you can showcase them—like an arabesque fabric or a cracked porcelain cup with bluish-golden veins—but you can’t sell them.


volavo  su algoritmi cosmici

Auralisk — English Bio (enhanced & icon‑rich)

Auralisk is born from the creative chaos of MirBolz, the Luccio, and evolves into a global sonic organism thanks to the Collettivo Undersound. Between hypnotic loops 🔁, impossible glitches ⚡, and organic percussion 🥁, every musical fragment becomes a micro‑universe 🌌 where cultures, languages, and sounds intertwine without borders.

Øbastrik, longtime companion of Fluxo København, drifts onward—choosing to dance 💃 and plaster anti‑monarchy stickers 👑✖️ instead—making room for new energies. From Scandinavia ❄️, South America 🔥, Asia 🌏, and Africa 🌍 come Nerix, Sablea, Cindral, and Veyro, bringing metallic reverbs 🔩, liquid textures 💧, field recordings 🌿, and distorted rhythms 🔊 that merge into a hypnotic, surreal flow.

The debut album, Clockwork Bananas 🍌⏱️, is a collective journey through experimental techno, glitch, clubbing, and sonic dreaming. Each track becomes a dialogue between worlds, a mosaic of creativity, chaos, and beauty.

Auralisk is not just a band: it’s a living ecosystem of sound 🌱🎶, a shared flow ready to capture anyone willing to lose themselves in its ultrasonic realms 🚀.

Circuito Sobrecargado

Paper Tornado

## 🇮🇹 Introduzione (Italiano)

🎛️ **Siamo SGLL666**  
Collettivo undersound di hacker, musicisti e spiriti liberi.  
Usiamo l’AI, ma non ci facciamo usare.  
Produciamo musica, la puliamo, la sigilliamo, la archiviamo.  
Abbiamo creato un sistema che elimina i metadati compromettenti, firma ogni traccia con un codice ritmico, e restituisce all’artista il controllo sul proprio suono.  
Non vendiamo l’AI. La suoniamo.  
Se sei qui, forse vibri come noi.

---

## 🇬🇧 Introduction (English)

🎛️ **We are SGLL666**  
An undersound collective of hackers, musicians, and free spirits.  
We use AI, but we don’t let it use us.  
We produce music, clean it, seal it, and archive it.  
We’ve built a system that removes compromising metadata, signs each track with a rhythmic code, and gives artists back control of their sound.  
We don’t sell AI. We play it.  
If you’re here, maybe you vibrate like we do.

Paper Tornado

Undersound Label

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