Indústria de Plásticos was created with the proposal of developing unpredictable electronic music without being too tight to rules.
Before jumping into this musical travel, I played in some traditional rock bands and was part of Labia Minora, a band that already used electronic elements. At this band I was introduced to electronic music by Daniel Albinati (www.digitariamusic.com.br), partner of many other projects and great friend since then. We’ve played together also in CUB and ABX, and created together some sound tracks for plays and movies.
I honestly believe electronic music is something that once you know, you can’t get rid of it. Somehow it expands your expression universe so much, that tight it up again, by not using it, becames at least boring. Around 1998 I left Labia Minora, unable to play in traditional rock bands again, but still with a huge appetite for composing and playing.
Back then, to create electronic music it was necessary to have a very expensive hardware, inaccessible to ordinary ones. At that time, I had this old computer Cyrix mii 300, 16 mb ram, and 850mb HD. and it’s soundboard used to be incredible awkward. Anyways, ideas don’t choose time or place, and I ended up running the late Cakewalk 3.0 and creatively exploring the general midi tones of that old stuff.
As I came to like the results, what started as a limitation became my language itself, and I found myself searching for other soundboards even older than mine. I actually got to the point of having installed on my PC a Sound blaster VESA from the early 90’s.
It was exactly its mold smell, this occidental technology shelter, that brought texture to the tracks package produced from 1998 to 2001 which I called HBIOS.
HBIOS is a record in witch I tried to put concepts, ideas and feelings by breaking that current traditional electronic music esthetics. This, I think, made that sound very hard to be classified, for it mixed very experimental moments and dancing, fulfilled with influences of rock, jazz, atonal music, conceptual music and others rhythms from more contemporary electronic music such as Idm, ambient and electro as well. If, up to this point, it’s still making any sense, I might say that HBIOS somehow questions the technological resources and the elements of such esthetics in its relation to structure, shape, and content for music language.
It was in early 2004 that, finally, a much more modern computer became part of the company estate and once the creative/existential crisi was gone, I started my almost pathological affair with my great friend Reason. The results of such love affair has been putted into tracks for a new package I intend to call the Windows Explores. And since monogamy doesn’t quite work when it comes to software, I’m adventuring myself through some other ones too.
Recently, I was also part of a band called Millicents (www.myspace.com/bewareofthemillicents), and worked with Carlos Aarão (http://www.movasse.com), the dancer, at his show caled Sem Data de Vencimento.
Besides this writing soul, Industria de Plásticos also counts with other workers, real human processors, that help more and more to produce more beautiful and pleasant shows and for what I’m very grateful.
I'll soon take the time to write some more.
