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For me, the future is a promise
and this album is an homage to that.
To all those promises and warnings that science fiction has made about the future.
I started working on the first ideas without knowing where to go.
What I really had in mind is that, in order to be coherent with the concept, this record needed to be much more minimalist than the previous ones.
With more presence of the synthesizers.
These instruments have always been linked to futuristic visions, because the pioneers were real rupturists in their own time.
In that way this album is a tribute and an homage to the synthesizer and its futuristic legend.
At first I tried with virtual synths but it didn't work
I don't feel comfortable with soft-synths
The initial stage was quite complicated, because I wasn't able to embody in the music all these ideas that I had, about where to go with the album.
At that point it was quite clear that the album has to be made entirely with synthesizers.
I put the guitar and the bass away, which I had been using a lot in the previous eps
I felt they were out of place in this case.
It was clear to me, that I had to resolve it only with synthesizers.
I got them in different moments of the recording, but once I had it all set up, everything came along together.
It took me some time to feel comfortable with the new sounds and structures, but eventually it all started to work.
I started to try with fewer layers of sounds and shorter structures, instead of making longer tracks;
I wanted to try with shorter ones and create different moods along the album and not in one track alone.
- Did you get that?
For this album I wanted to have something closer to a song,
and, as I did in the previous EP's, I looked for a girl to sing in one of the tracks.
I got in touch with Maité Gadea through friends and it was great.
She has a lot of experience in different styles, even with more experimental electronic music, so it was very easy to work with her.
We meet once to improvise melodies and the second time we directly recorded the vocals at Tono.
It's was a pleasure to have her in the album, we both are very satisfied with the track.
For the artwork I didn't want to use elements from science fiction or technological references;
it seemed more interesting to me, to try and represent the album's concepts in a more abstract way.
All the repetition and simplicity of the sounds.
This sort of "prismatic city" fits well with the mood of the album, the pure lines in relation to the rhythms and the sounds.
- so, now you have to...
The other guest in the album was Hernán Gonzáles, a.k.a. Cooptrol, one of the references of the Uruguayan electronic music.
It was an honor for me that he accepted the invitation, we jammed with the synths twice and we got things that were great and represented both of us.
- Let's put some limits, let me know when... think about how many beats we have to... I mean...
The result is great; I think he contributed a lot to the album. The track really stands out from the rest.
- and then it has the LFO
- "maybe we could try making another round of the simple one, and then one more of...
The final result is fantastic, it was a process that took over a year, with a lot of research, and many tracks that didn't get to the album;
; but in the end I think El Futuro reflects this moment of Par.
After two EP's with different approaches, I think I finally defined the sound that I want.