As far I can recall you
only did some interviews in Spanish language until today,
so this will be the first exposure to readers that speak
foreign languages. I'd like to start right away with the
beginning. When was the band Cornucopia raised to life
and with which intentions behind it?
Jorge: hello Stefan. This
actually isn't our first English language interview.
There are many others...
Cornucopia actually started
out as a guitar noise thing, since I was a guitar player
before. It has gradually changed and evolved. From
straight harsh noise, to minimal ambient, to musique
concrete, to microsound, to all at the same time and back
again.
When did you both started
to know each other, how did it happen?
Jorge: Claudio used to write
for an online magazine in Puerto Rico. He contacted me
about doing an interview. And we took it from there. We
first made this agreement that I would help him out with
some sounds for his musical project and he would give
Cornucopia visuals, but I liked his sounds so I asked him
to join.
Claudio: yes, it simply was
like that, I was sceptic to show him my soundwork at
first, being it so different in a way from what he was
doing, but as we spoke more and more we realised we both
wanted the same thing, to explore all parameters of noise.
So the rest is history.
It never seems pretty
obvious that a person is born walking so to speak, so
could you tell us a little about the history and
evolution that you went through to end up as a musician
making all kind of "weird" electronic music.
How did you got acquainted with this genre of music
during your childhood?
Jorge: in the beginning, it
was Robert Fripp who opened my eyes to all the repetitive
noises. All made with a guitar. Later on I was very
impressed by Merzbow, Macronympha and some other noise
artists like Killer Bug, then I discovered all this other
stuff like Francisco Lopez, etc. Lately it has been the
sounds of Alva Noto and Jonas Lindgren who've caught my
attention.
Claudio: I started my
interest in soundwork at college, I studied film and used
to make "sounds" to go along with my projects,
contrary to the rest of the class I was more into the
avant-garde, film noir, aesthetics, so it was very
appropriate. Little by little computers started
integrating into my work up to this point where it is a
combined
electro-acoustic kind of work.
Can you remember any
specific story or situation (something funny maybe) that
happened in your younger years which was of quite a big
importance and contributed to your interest in the genre.
Something (a story) you'll never forget somehow?
Jorge: I can't pinpoint the
exact moment these sounds caught my interest. Maybe the
first Masonna track I ever heard. It was mind blowing...
Claudio: getting really
depressed about my life and environment at 16 almost to
the point of misanthropy, was a turning point in my life,
ever since I’ve embraced art and profoundness as a
method of existence. It’s been difficult because of
the barriers of society, but now I can truly say I’m
at peace with who I am, and my work.
Were you already since a
young age planning to become a musician?
Jorge: since I was about 5 or
6, yes.
Claudio: fiddled around a
little bit as rhythm guitarist for a metal band, but
nothing serious other than that.
What was your parent’s
comment to this or what was their comment later when you
did become a musician? Do/did they support you and what's
their opinion about the genre of music?
Jorge: my parents are
extremely patient. They never actually got to hate it.
And yes, they support what I do.
Claudio: my parents don’t
exactly understand my way of life, but they respect it.
What were the first
concrete/simple/basic sounds that got you into this
music, before you got your electronic gear to record
something (besides a tape recorder maybe)?
Jorge: I guess growing up
near the airport in my city (Ponce, Puerto Rico). Later
on I ended up working there. Those giant airplanes’
sounds every day for years I guess influenced me a bit.
Claudio: field recordings of
Boston at 6 am on a Sunday, sounds of acoustic things
hitting walls etc, done on my audio classes, etc.
Were you anyhow influenced
by certain artist in particular that got you on the road?
Jorge: the biggest influence
for me personally has to be Fripp. Merzbow obviously, but
you knew that.
Claudio: I didn’t
exactly knew what I was doing, and its complete relevance
world-wide as a culture, until I met Jorge. I knew there
was stuff, and I knew Francis Schwartz (acquaintance of
John Cage), but I never considered what I did relevant to
those references..
Ok, further with the
future now. Do/did any of you have any side-projects
going on, can you name all of them and give a short
description to tell us in what measure they are different
from eachother musically and maybe the concept behind it?
Jorge: I work on a solo
project and have released some ambient albums with that.
Claudio and I will be working together on another, still
un-named project. Something more Dub influenced. Claudio
on machines, myself and another
friend of our on guitar. Plus
I will be supplying guitar for a space rock band called
Astral Mon with members of Macroporno and Siconautas (all
local bands).
Claudio: I have several side
projects of which I can mention:
Yituey: I deal with static,
microscopic and immense sounds, but with a human feeling.
socialmente desafiado: an
ambient techno project in which I ventilate being sloppy,
tacky, and melodic, not unlike Autechre
Plus other projects like O.I.R.,
in which I explore moving image manipulation and mixture
with organic materials, with a social context.
Puerto Rico would be far
the last country one would expect to come across with a
musician involved into dark-experimental-industrial-noise-...
but as to my recent knowledge there is even more than
just one. It would be nice and more than appreciated if
you could give us some sort of an overview of what other
bands are active on your territory these days. Could you
as well add a description to it about the music they are
doing... which ones are really recommended to look out
for?
Jorge, Claudio: well, to be
honest, we've actually have experienced some prejudice
because of that. People just don't think two kids from a
tropical island should play anything but Salsa or
whatever...
There are MANY experimental
artists here (believe it or not), but none of them have
reached out internationally as we've had.
A quick rundown:
Rafael Aponte Ledee: Musique
Concrete composer. Active in the 70s. Now retired.
Dr. Carlos Vazquez: Musique
Concrete composer. Active since the 70s.
Un.Real: Ambient Rock band.
Active since the very early 90s.
Siconautas: Space Rock band.
Active at least since '93.
Macroporno: IDM/Braindance
band, of which Claudio is a member on a visual part.
Active since '96.
Oscilador 4: indescribable
Stereolab-ish band.
Synaesthesia: Abstract
Classical/Downtempo band. violins, violas, celli, etc.
Descojon Urbano/Hijos de Cain:
Industrial Punk band. Active since about '89.
Antartica: Hijos de Cain side
project. Active since about '96.
Local 12: Downtempo/Latin
band. Imagine abstract downtempo beats with Latin
percussion thrown in. Active since '97.
Exp Lab: Psychedelic/improv/rock/jazz
band.
Shshsh: Noise artist.
Guerraeterna: lo-fi Noise.
Active since the mid nineties.
Lester Mon: Psychedelic Space
Rock/Ambient Soundscapes. Active since '93.
Lagrima: Digital Hardcore
artist. Active since '97.
Cromafactor: Industrial act.
Since '98.
The Humanoids: Digital
Hardcore unit. Side project of Macroporno + K-Kemit (turntablist)
Yituey: Microatmospheres.
Side project of Claudio.
Musique Concrete Ensemble:
Ambient.
Malación: Macroporno side
project.
Cornucopia: Minimal Noise/etc.
Active since '96.
Zooplank!: IDM artist.
Superaquello: As they
themselves describe it: "Terequetech" as in
"gadget tech influenced, but with a sort of
Brazilian tropical twist".
Burning Face: Gothic/Noise/Stoner
Rock band. Inactive.
Tungunska: Minimal ambient
artist.
Matotumba: Improv/Noise
collective.
Plus all the DJs, etc.
How is the scene in Puerto
Rico regarding the amount of concerts happening there,
maybe with once in a while foreign bands? What's the
average amount of people that shows interest in concerts
and comes down to see one for himself? Are there just
parties as well? Do you have something like a Puerto
Rican Gothic scene as well? (this "gothic"
question, because that's mostly the biggest scene where
subgroups involving noise-industrial-ambient-experimental-...
are mostly formed).
Jorge: it's just like
anywhere else, Stefan. There are all kinds of shit here
too. All the big commercial artists cone over and play,
etc. no experimental artists though. What we do has its
audience, but as with everywhere else, it's small. Oh and
yes there are "Goths" in Puerto Rico. They
don't like us from what I’ve heard.
Claudio: a little bit of
everything, a lot of cultures collide in Puerto Rico,
hence a lot of different types of expressions, from tacky
and fadish drum n bass, to us.
The name Cornucopia
doesn't ring a bell within most people I figure, one can
consider it just as a strange name, but actually it
stands for quite a specific expression or whatever I
should call it. Could you tell us about the more profound
meaning related to it, why you choose it and how it fits
in your own life-philosophy or what interpretation or
thought did you give Cornucopia in order for you to
choose this name? (I expect at least 3 pages as answer! -
hehehe, just a pretty long answer would be more than
appreciated as well)
Jorge: well there is no big,
pretentious, spiritual meaning to the name. The word
"cornucopia" stands for "abundance"
and it applied to us because of the abundance of sound in
what we do. That’s why I chose it. Another reason
for using it is because it applies to both English and
Spanish, so we could avoid questions about translations
during interviews. har har...
Claudio: Jorge said it all....
Regarding your music now,
you record and experiment with a wide range of sounds and
genres. What's the closest description you could give us
about your music to give people an idea? Which styles do
you mix together or you use influences from?
Jorge: it would be
ridiculously difficult to describe it with just one word.
We mix all kinds of shit. Ambient textures, loud noises
from machinery, field recordings (of the sea shoes,
rivers, forests etc.), analogue synth textures and
digital signal processing all into one huge ball of loops
and we edit everything to death. I guess most of what we
do has a certain Dub influence, because of all the
repetitive sounds, but we try not to get too boring. It's
basically an equal combination of noise, ambient,
microsound and musique concrete.
Claudio: I don’t like
limits, though I limit myself when working to maximise
versatility, but we are basically sound designers, we don’t
limit ourselves on our explorations through different
types of noise.
Claudio, you especially
give the music another dimension through the use of an
audio-visual installation, which you manipulate and edit
live. The website tells us that you offer a complete
audio-visual experience, a hypnotic attack on the senses.
What do you want to reach with this in particular,
manipulation of the human mind? How could one imagine
what this is all about, can you shed some light about
these specific life performances, what can one expect to
see?
Claudio: well as you rightly
said it, visualising a cornucopia of sounds is no easy
task. I tend to be very conceptual on my work, at the
beginning my first contemplations were based on the
amplification of pixels, and the interaction of their a-rhythmic
patterns, with our sounds. Right now visually we’re
on hold, because I’m in the process of
conceptualising a more appropriate vision of Cornucopia
for our shows. What will happen next visually is that we
will evolve to include programmed visuals that really
interact with the pieces in real time. Whereas we will
have a dedicated computer who will analyse our improvised
output, and match it with a set of predetermined
footages, images, etc, in an object based programmed
environment (sorry too technical visual c++)
Claudio, when and how did
you become a graphic artist and sculptor, did you do some
studies in that direction? Has anyone ever offered you to
do something for a movie, or have you ever done anything
for exhibitions, go ahead and tell us something more
about the whole thing?
Claudio: ok my explorations
began through reading, I ran into quite an existential
mess at 16, and one of my solutions was to explore my
destiny through reading, what interested me, and why was
I always thinking so much about things people took
completely for granted. My first initiative, my father
being a cinematographer, was to study film. Once I got
there, I felt I had to explore film as an art medium
since my main interest has always been artistic
expressions. Through college I worked and did some avant-garde
projects for my classes, mostly footage without persons,
done on an empty city Sunday mornings. I hated people for
a long time, so I never included them in my works.
Nowadays I’ve gone through several transitions, that
have me right where I wanted to be, I sent the work life,
career, and social fulfilment straight to the hole, and
am dedicating my life to multimedia explorations of my
feelings. Luckily my little experience with work in
advertising here taught me in a way how to make it
profitable, and now I’m fully working on ways to
secure a stable life, getting paid, and doing, what I
feel.
Fieldwork I’ve done
quite a lot, from working on films, designing and
conceptualising events, exhibitions of my work as
painter, collaborations, etc.
Lately I did a 5-screen
installation inside a rave-like event (I always choose
electronic music events to show my work, because of the
unpredictability of people going there totally not
expecting collage work of video art, with a social
message)
Anyway this huge beer company
paid me a lot of money to go there for two days and do my
installation, which they didn't know was totally a
criticism from my part to the whole lifestyle they
promote. I don't go there and insult them, but I severely
criticise consumerism, trends, concrete, and
glorification of the superficial aesthetics among other
things, through manipulations of abstract and organic
footages through videomixers it was quite fun...)
I was wondering if you did
some concept recordings or releases already, if so, what
are the main concepts you work around and why? Or what
would you want to work around someday?
Jorge: we did a 3" Cdr
for Hospital Productions last year, which commented (sonically)
against organised religion. We recently finished "Vibro-Acústica",
a CD for Generator Sound Art in New York, which talks
about a certain illness citizens of the Puerto Rican
island of Vieques are suffering, thanks to some "target
practice" the US NAVY is doing there...
What else... we did an early
tape release called "Lifelong Hate Crusade"
which was about the bombings of Baghdad in 1998. Our
newest 7" is titled "The Disease Industry"
and it needs no explanation. So as you can see, most of
what we do is conceptual.
Claudio: independently my
project Yituey is now releasing a piece called "sentimientos
de plomo" which is a musique concrete piece of sixty
minutes, commenting on the situation of Vieques island.
This work I did only of manipulations of field recordings
of wind, waves, and night. Our label Eco will be
releasing a limited edition of fifty copies, to be
distributed freely, as part of the concept criticising
people who have gone out to get rich on this whole
situation. I’m planning on performing the piece in
as much cultural environments as I can worldwide.
I might ask you to sum up
all releases, but as there are quite some I was wondering
if you just could give some examples of some titles of
albums that you released (with the additional info) which
were worked out around a
certain subject or idea/concept?
Jorge: the ones I’ve
already mentioned are conceptual of course, plus there is
the split with Sickness titled "Final Noise music"
which is a tribute to MB (Maurizio Bianchi) which is
excellent. Also, the "60 Years" split Cdr with
Musque:Motpol (from Sweden)
is also about Vieques. The title refers to the amount of
time the NAVY has used the island. I think the 'Vibroacústica'
CD is the most important, sonically and conceptually.
Is the music you make an
expression/outlet of your own personal feelings/emotions,
what are these feelings then? Do you try to hide or
include a certain message in your work (music/visual
artwork) to make people more conscious about something-about
what? How do you want people to interpret or "feel"
your music?
Jorge: I personally don't
care if they get it or not. If you come to a Cornucopia
show without expectations, then you WILL enjoy it. When I
make the sounds all I have in my mind are the sounds
themselves. Nothing else.
Claudio: everything I do in
my life is about how I feel, so there you go!
What's the strangest sound
you ever recorded yourself, or what would be the most
strangest sound you would like to record?
Jorge: I would like to record
the sounds of lightbulbs. Have you heard those? I think (correct
me if I’m wrong) that Australian sound sculptor Alan
Lamb recorded those once.
Claudio: stomach, intestines,
and stuff like that.
Besides the many albums
you both released already, how does it come that you're
practically unknown in European territories?
J: I guess we're not known
because we haven't released a real CD yet. All of our
releases are in Cdr, in editions of 100 maximum. In order
to get known worldwide you need to get on a BIG label,
which has a good distribution. We haven't had the chance
yet. But having said that, labels like Fusion Audio,
Solipsism and Public Eyesore have been very good to us.
So we can't complain.
I also think that there's
this 'friendship factor' in the experimental scene. It’s
just like the mainstream music business. It’s who
you know and where your records get released. I’ve
heard some TERRIBLE records in big experimental labels,
but they're released by either people who are already
known or unknown who know the record label people
personally. I know I sound like I am bitching but I know
I speak the truth.
Claudio: I differ from your
opinion. In very special ways, I’ve got more
feedback and responses of admiration and respect from
European listeners than those in Puerto Rico. I feel they
are more up to what we do, which is one of the reasons
why we will be performing in four of the principal cities
of Spain, for example.
As for the experimental
community I hate the elitism. We have contacted and sent
material to some of these labels, only to be ignored
because we are not such and such from Austria, for
example. Again I’m bitching also, but time will tell...
You also did some
collaborations with other artist, if they aren't many,
could you name them all. What's the most pleasant
experience you had while recording with other artists so
far?
Jorge: I enjoyed the one with
Sickness. Chris is a hard worker, and if you want to work
with him you have to do a good job or he will let you
know straight up. You got to love that. Also, the William
IX thing I did with Bryan Day of Sistrum was a lot of fun.
And I can't forget Zan Hoffman, who has a golden ear for
sounds. I can't believe how much he works! Just imagine
having over 600 releases!
Claudio: one of my favourite
collaborations lately is the one I did with Mr. Chris
Dooks aka bovine life (www.bovine.org.uk ). This collaboration will be out on the
social electrics CD to be out on the fall on Bip-hop (www.bip-hop.com ). Two loners, wiring feelings through
modems:) I’m looking forward to my next
collaboration with Jonas Lindgren, in which we will
explore micro-feelings... Among other future
collaborations, I will collaborate with my girlfriend,
curiously named Claudia, on my next Yituey release of
which she will be the source material with all her bodily
sounds.)
With whom would you want
to collaborate someday?
Jorge: tough one. Many people:
just now I will say: Francisco Lopez definitely.
Claudio: Francisco Lopez
first on list... also Thomas Winquist, Francis Schwartz,
but for me is not much the person that motivates me, the
concept or idea we have in common is what fills me...
Well, further now with a
little info that fits into the concept of Fusarium
Magazine and additional related questions that might be
of one's interest. Also Puerto Rico didn't stay unharmed
by the "American imperialism", they abused 1 of
Puerto Rico's islands "Vieques" to do tests
with "depleted" Uranium. We in Europe were set
up with the same tests, going so far that our own
governments (European Union) allowed (unknowingly they
state) the Americans to do these tests on our own
European army troops of which only now we are starting to
see and hear about the extreme consequences. Do you give
a lot of thought about the mess they are making in your
country, what do you think about the whole "shituation"?
Jorge: well, America’s
atrocities go unnoticed everyday in this world. Everyone
wants to be fucking American. I find this pathetic, and
of course, the repercussions this brings into the world
and all our different societies are evident.
The Vieques issue has been
alive and kicking for many years, it was just left in the
backburner if you will, because there were "more
important" things to consider for the local
government. the navy has been bombing Vieques for the
past 61 years. They’ve used "depleted"
uranium as you pointed out. This infests the water.
Vieques mostly lives of what they fish. They feed their
families with uranium infested fish basically. And that's
probably what we eat.
Then our people just got fed
up when they finally managed to kill a Puerto Rican
security guard, who stood outside bombing range and was
blown away by an American pilot. A 'mistake of course'
they say. That was it. After this happened, neither the
government nor the people could take anymore. The
environmental devastation caused by live bombing was
brought to the forefront and people started to protest.
They performed civil disobedience by infiltrating the
bombing grounds everyday for the past 2 years. They have
stopped the bombing for a while, but it starts again soon.
and our people will disrupt
them again and again. For as long as it takes.
Is this actually a known
topic in the news in Puerto Rico? How do the people stand
against these facts? In which measure is your own
government involved in this case, what initiatives are
they taking to stop al this? And is the anti-American
resistance as well there growing, protests of any kind?
What consequences are already known to the people, or
what is predicted to follow? Do certain countries provide
any international support to prevent or fight against
these "shituations"? Which countries are mainly
on your side?
Jorge: yes this is obviously
well known in our island. It is probably the most
important issue for the people and the government as well
(or so they say). The only initiatives people are taking
are protesting. Infiltrating the bombing area and
directly stopping it. Infiltrating the navy controlled
area leads to an immediate arrest and some physical abuse
(as a recently discovered navy video showed). They’re
beat up quite badly and put in a roofless cage until they
can be taken back to the big island and face trial for
trespassing. Can you believe it? Trespassing in our own
country?
How far goes the
globalisation in your country? What is your vision/opinion
hereabout. What advice or message would you want to share
with the people?
Jorge: well, as in most Latin
American countries, the US has a goldmine here. It is
basically impossible for me to buy local food after 23.00
hrs in my city, the only choices are synthetic American
fast foods. That is a microcosm for the rest of the
economy. Chain stores and strip malls are the order of
the day here. The local economy is almost non-existent. I
could go downtown right now and it's mostly a ghost town.
People just prefer the air-conditioned mall bullshit.
Enough about the mess,
let's see Puerto Rico from a different side now. In case
we ever would set feet in Puerto Rico, which place(s) do
you recommend us to visit and which places better not (Vieques
I guess)?
Jorge: El Yunque. The biggest
rainforest in the Caribbean. That's a bit touristy I
guess... go to the ghettos. See the REAL Puerto Rico. The
one not on Ricky Martin endorsed-tourist brochures.
Claudio: Puerto Rico is a
very interesting small place in the sense that you have a
huge mountain, tropical forest, next to a beautiful sandy
beach, lots of neat sounds...
What else could you tell
us more about Puerto Rico, traditional food, best beer,
nice girls, best mushrooms, ...?
Jorge: I could tell you that
the beer is cheap, but I can't say anything about
mushrooms... I can tell you about the weed though...
how's the weed up in Antwerp? You’ve got to hook us
up when we get there...
Claudio: as you can see we
love weed, it promotes at least in me the relaxation I
need in order to deal with society here, a herbal
lithium, if you will...
Ok, further now about your
activities together. You both run a label called ECO,
what does the name stand for? Any deeper significance?
Jorge: not at all. We like
echo, we like repetition. We used it in Spanish. The
label itself is very very small right now. Releases all
limited to 50 copies. We’ve released some wonderful
records from R4, Jonas Lindgren, Yituey, Cornucopia and
Pablo Reche. We try to keep the prices low and do some
distro. But we're trying to keep releases to very small
numbers so we have time to actually make noise.
Claudio: Eco is our little
label soon to be creative hub, we plan to let the world
know of our intellectual wanderings through Eco, and it
makes a lot of sense.
You focus on releasing
only CD-R in plastic bags to bypass jewelcases. Is this
mainly because of the costs, so if you'd be possible,
would you release material on printed CD's? Do you plan
all releases to be on CD-R? What's your view towards
pressed CD's or CD-R's?
Jorge: well so far it has
only been Cdr’s and we've now changed the packaging
to anti static bags which look quite nice. We hope to
release a CD by American artist Omei (side project of
SICKNESS) which we know is a masterpiece. And yes, we do
the Cdr thing because of costs...
Claudio: the static bag
fulfils a conceptual delight for me in the sense that
they are used to ship computer materials that can be
affected by static, but... if a material is placed in the
bag containing static electricity, it will remain in it,
until opened, I find it quite related to what we do.
All the releases as well
are limited to a small number, why exactly? Is there not
enough attention given to your products? Is the material
someday to be reprinted or not?
Jorge: yes we'd like to re-release
some of them on CD someday. We focus on the music, the
packaging is cool and all but I personally think the
focus should be on the sounds.
Claudio: we work, and work
and work. Having a label is not a priority.
What does an artist have
to do if he wants you to sign him, do you have
preferences to certain styles and genres of music, what
other conditions do they have to fulfil? Is it
concentrated on a specific genre? Do the bands have to
fit to a certain ideology, religion, image or background,
can you tell us about it?
Jorge: we're not a major
label so we couldn't care less what you look like or if
you like to fuck dogs. That’s your business. Anyway
we're concentrating more on releasing our own stuff so
we're not taking that many submissions... we do
concentrate on ambient, noise, musique concrete and
microsound.
Claudio: Eco is a workshop
for us and closely related artists, period. If the rest
of the experimental tend to be elitist, we kind of allow
ourselves a little bit of range into that matter too...
Is there any specific band
you are highly looking forward to release something from,
which one(s) would it be?
Jorge: definitely the Omei CD.
It’s a project from Chris Goudreau of SICKNESS.
Something completely different from him. More ambient
oriented. A brilliant record, which I know everyone, will
like. We look forward to releasing it and
have him come and play a
concert in Puerto Rico.
Claudio: the omei CD.. I love
Chris’s work, and am looking forward to releasing it
soon.
What have you released so
far? Is there anything in the works for a next release
yet, and if so, could you shed some light on it then?
Jorge: well we recently
released the R4 "world report" Cdr, which is
just one 60 minute long track. It’s brilliant. We
will release Antibody's "haha" if I can get
hold of Jordan soon.
What can we expect in the
future from both the label and Cornucopia + side-projects,
are any concrete plans for either releases or
collaborations made?
Jorge: most importantly, our
"vibroacústica" CD is coming out on generator
sound art in New York (http://www.generatorsoundart.org ). We’re also recording
something for a Spanish label right now. Hopefully will
be out in time for our European tour, which we're also
working on these days. It will happen in November-December
2001. Of course, we will hit Belgium and other places
like Spain and Holland. Claudio has a shitload of stuff
he's working on, so I suppose he will elaborate about
that right about now.
Claudio: no elaborations, as
I said my life is dedicated to feeling, so you will keep
seeing/hearing/feeling what I feel in the future...
Well, this is where my
inspiration, as also yours probably, comes to an end. Is
there anything you'd like to ad to this interview?
Jorge: I’d like to thank
you for the interview Stefan! We look forward to our
European tour and see you all then!
Claudio: thanks so much, this
has been my favourite interview up to now, I’ve
never talked so much! See you in Europe!!!
ahh una cosa, por favor dense
cuenta que Estados Unidos son el imperio de la mierda, la
sociedad mundial no necesita de tal monstruo de
manipulación (sorry had to say it)
Cornucopia discography:
'vibro-acústica' (generator
sound art, USA)
'1003' (eco, Puerto Rico)
'perspectives' (fusion audio,
USA)
'eradicate the religious
establishment' (hospital productions, USA)
'lifelong hate crusade' (tdt
music, Puerto Rico)
'christians in bondage' (tdt,
pr)
'sense' (tdt, Puerto Rico)
'crack the sun' with k2. (solipsism,
USA)
'60 years' w/ musique:motpol
(public eyesore, USA)
'final noise music' w/
sickness (ninth circle, USA) *
