Nicky Mao – Hiro Kone’s real name – does not speak the language of machines, but uses machines, specifically modular synthesizers, as tools of expression. It is a radical idea: experimental and abstract electronic music as a field of poetic expression. It is, in fact, an exercise in some brutalism that can be understood as a lament for the consumerist violence that capitalism imposes on us these days, something that was also born from his readings by Georges Bataille. Music to support revolutions, even if they are intimate and spiritual. Not necessarily to dance, although the music of Pure Expenditure does not rule out this possibility. And all this, fighting the capitalist void using the music of the clubs that Hiro Kone confesses to feeling disconnected, also has its own poetic aspect.

Untiring force brute in the boiling national improvisation, the reality crosses almost with the delirium for the diversity of projects involved or live incarnations. Live music, shrouded in flames, worthy of an obligatory jazz credo. From guitar to saxophone, Sousa has been meeting with a noble blow, towards the blessed convulsion and the most emotionally rude expressiveness that can be idealized. In the ZDB, home where he left a trail on several occasions, he returns in that condition where the usual inclusion in the collective gives way here to the individual role. This, of course, with all the novelty that this change can appeal to each one of us.