Explore the fusion of industrial, noise, and dance within independent experimental electronic music. Discover unique sounds and avant-garde sonic landscapes.

Dissonant, dystopian, and alienating.

This is an unsettling album, much like the lives of those left behind.

Turn Your Back on Me speaks to those dwelling on the margins of society who resist poverty, abandonment, and silence. Above all, it addresses those who ignore inequality and the cracks in a society choosing to look away from invisible minorities, from lives treated as disposable, and from voices no one wants to hear.

They are only words, I know.
But words are nails, and I am driving mine in.

The desire to produce music on my own first took shape when I listened to The Forgiveness Towel by Deluxx.

Thirty years have passed since that day, and my relationship with music has been something like a long ride on a rollercoaster. The first time I could afford some proper hardware, I bought a second-hand Yamaha cassette recorder. Even now, I still find excuses to use my MT4X in new projects.

Over time I have put together a modest but solid setup for analogue sound acquisition: a Midas audio interface that gives me sixteen simultaneous high-quality inputs, along with a few straightforward machines designed for immediate sound creation, such as the DrumBrute by Arturia, the Spectravox by Moog Music, and the Grind by Behringer.

Despite this, my first release is entirely digital in nature. It was produced completely inside a DAW, from the creative stage all the way through to mastering.

Within this EP, I believe much of my sonic fabric can be heard, something that has layered itself over the years through very different listening experiences: from The Velvet Underground to Sonic Youth, from The Prodigy to Napalm Death, and also Matmos, Giorgio Moroder, Ennio Morricone and Codex Empire. These are only a few examples, but they explain something quite clearly: I have never really had a favourite genre. I have always imagined tailoring one specifically for myself.

Turn Your Back on Me is, in some ways, an experimental work. The experimentation does not lie so much in the well-established 128 BPM, nor in the structure of the tracks, even if that might be slightly unconventional, but mainly in the nature of the sound itself. I have always focused my efforts on trying to obtain something that sounds unique.

This approach goes back a long way. In the early 1990s, even before discovering Deluxx and long before owning my MT4X, I used the double cassette deck of my family’s Pioneer hi-fi as if it were a multitrack recorder, recording sounds and noises while trying to assemble rudimentary rhythmic sequences. I have to admit that, beyond the terrible background hiss, something interesting would occasionally emerge.

The next step was collecting old toy keyboards from friends who no longer used them. Around that time I was also using an old acoustic guitar, which I amplified through a microcassette recorder of the kind students used to record university lectures. It sounded wonderfully lo-fi.

The rest of what came afterwards, in a sense, I have already told you.