ESPLENDOR GEOMETRICO

Journalists always look for a deeper meaning, but the truth is our music is purely physical. I reject the intellectual standard because sound should hit your body first, bypassing the brain entirely. It's about energy and primitive rhythm, not a theoretical thesis. Critics try to apply sociological or political theories to the noise, but they miss the point.

With mathematical rules you can generate order and repetition, but chaos can emerge from precise mathematical rules as well. It's only an apparent paradox.

I think one of the reasons our live performances work is the tension created by the contrast between those two worlds. Between order and chaos. Between mechanical repetition and organic disorder. Between structure and instinct. Arturo brings that raw and unpredictable energy. He pushes against the structure rather than simply following it. And, on the other hand, let's be honest, somebody has to do the "clean work" on stage…

Working entirely within Logic Pro on Macs and iPads provides unparalleled freedom. The heavy lifting is done through sophisticated analog emulation effects rather than dragging around massive hardware. It allows me to maintain our abrasive sound and arrange sequences wherever I am, without the physical limitations of vintage gear. The resistance isn't in the screen; it's in how aggressively you manipulate the software.

The stage demands absolute endurance. My daily routine of running 12 kilometers and swimming 3,500 meters isn't just about general fitness; it builds the intense cardiovascular engine required to sustain the physical and vocal brutality of our live shows. It translates directly into the relentless, fast-paced energy we keep up on stage.

The digital exchange is seamless, but the environment always seeps in. While I used to be in Shanghai, I am currently living and working in Tokyo. Traveling around Tokyo by bicycle gives me a very specific, structured rhythm of the city, which contrasts with Saverio in Rome. It simply adds a different dynamic tension to the files we bounce back and forth.

We completely ignored it. In post-Franco Spain, everything was hypersensitive, but our use of militaristic or mechanical aesthetics was purely for provocation and shock value. We were never interested in the political side; we just wanted the most extreme imagery to match our extreme sound.

It was a necessary stepping stone. We were experimenting with rhythm and structure early on. It has a bounce, yes, but it was just where our heads were at in that exact moment before the sound naturally evolved into something much denser and harder.

Francisco and Teho brought incredible spatial awareness to the record. They didn't soften the abrasive density of the loops; instead, they gave that raw noise a wider, more cinematic field to exist in. It made the aggression feel huge and physical.

Much of modern industrial music is too clean and over-produced. It has lost that primitive, raw spark we discovered back then. It feels like it's made for a rigid grid rather than coming from a visceral, uncontrolled place.

The Futurists understood the pure, kinetic power of machines. I take that aesthetic — the speed, the noise, the mechanical rhythm — and strip away the destructive political ideology. For us, it's entirely about the sonic impact.

Germany has always had a deeper, more ingrained tradition of embracing harsh electronic and industrial sounds. They understood the physical nature of our rhythm immediately. Spain at the time was looking elsewhere, trying to catch up with different cultural movements.

I prepare by maintaining my strict cycling, running, and swimming regimens so I arrive peak-ready. I'm traveling from Tokyo to Munich, and then down to Friedrichshafen between July 16 and July 20, so staying physically sharp ensures I can deliver that unrelenting impact when it counts at midnight.

The machine worship is about the hypnotic, uncompromising nature of repetitive rhythm. That still speaks to me. What I leave behind is any ideological baggage. The machine is an instrument for sound, nothing more.

Throbbing Gristle invented the term and the concept of "Industrial Music." To me, we are just making primitive, rhythmic electronic noise. The label "industrial" became a cliché, a rigid genre with rules, and I don't like following rules.

I don't accept responsibility for how others interpret it. We use that iconography because it has a strong, aggressive visual and phonetic power. If people want to project a political thesis onto it, that's their problem, not my intention.

Recording in a single take captures the absolute truth of that moment. It protects the raw, spontaneous energy that you can't fake. What you sacrifice is clinical perfection, but we never cared about perfection anyway.

The irreducible core is the rhythm. The aggressive, hypnotic, repetitive beat. Whether it comes from an analog drum machine or a software sequencer, that underlying primitive pulse is exactly the same.

It's amusing to see. We were just making the hardest, most uncompromising sound we could think of. Seeing that severity turn into the foundation for global dance culture just shows that people ultimately want to be moved physically by rhythm.

Emerging from a closed society meant there was a massive, pent-up energy. When things opened up, we didn't just want to participate; we wanted to push things to the absolute extreme. That repression definitely gave our early work a much more violent, urgent charge.

It's a dialogue. It is always interesting to hear peers from our generation, or newer artists, take our primitive structures and run them through their own filters.

It's about doing something directly to the nervous system. The goal isn't conventional dancing; it's to overwhelm the senses entirely, to put the audience into a physical trance through sheer rhythmic repetition.

Melody represented structure, expectation, and convention. It was a limitation. Destroying melody allowed us to focus entirely on texture and rhythm, which to me are much more powerful and direct forces.

It is genuine. Critics and journalists always want to write essays and find deep intellectual meanings, but I just want to have fun and create pure energy. The simplest truth is usually the right one.