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This track is based on a simple melody with 4 notes and a silence, played in pairs, adding up to 10/8 bars. It has two main sections with two different experiments on how to make music out of this melody. The first section takes a prog-like approach, making complexity proud, explicit and fun for the player and music nerds at best. The second section tries to make the weirdness of a 5/10 blend into a immersive soundscape, comfortable to listen hopefully for most people. It's inspired by how I think Dream Theater "vs" Tool could approach the same musical idea.
The name digital comes from the number of fingers we have, most of us at least. Ten. The number most civilizations come up with as the base for all things math... but somehow doesn't seem natural at all when used in music. Fun trivia right there.
Last iteration: 03-06-2026
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In this track I did two main experiments: Same scale and roughly a single idea throughout the 5 minutes plus clean lead guitar on top of heavy rhythm guitars. It is more about an ambience than a foreground melody, maybe like 2018's Damp in that sense.
Last iteration: 10-05-2026
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A cover of a hidden gem from Madredeus that always sounded incredibly "metal" to me, this version just makes it explicit. The last riff is merely inspired in what one of the original guitars was doing at the end of the song, but everything else tries to be as faithful as possible: tempo, key, harmony and melodies... the twist comes from the timbre and dynamics. The drums are of course entirely composed out of thin air (the original has no drums).
Last iteration: 08-05-2026
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Mute captures the realization that I can't sing nor will I ever be able to use my voice in music as naturally as I use a guitar... and that's ok. This track is a double-down on me trying to get better at melody (i.e. guitar solos) and, to be honest, was a bit harder to compose than I'd anticipated; it took me more time to put out this year. The intro is the raw recording of me playing an unplugged electric guitar into a smartphone's microphone, which is usually how I record ideas for tracks. I don't like to record stuff off-tempo, off-pitch or that just sounds bad in general, but I also don't like to artificially over-correct stuff. Ideally I would record ideas in one take and that's a finished track... this intro is a reminder of how far I still am from that, a snap to reality of sorts, but it's also more real than the rest of the track and there's beauty there that always gets lost among the EQs, compressors, samples, overdubs and grid-snapping that follows.
Last iteration: 04-05-2026
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This track uses accentuated off-beats to convey the idea of limping or otherwise moving while crippled. It was inspired by a phase where on and off I had injuries that actually affected my locomotion... I'm all better now :D This track picks up on a riff me and a friend (Luis Ferreira) have already tried to make music out of, the one that enters at 1m30s. Adding that riff into this music was absolutely intentional, as one of the biggest injuries I had was directly related to a day I spent with this great guy. This music is the second time I think I did an actual lead-guitar track (after Bird), where there's a leading melody and not just cool riffs (which would be fine too).
Last iteration: 09-03-2026
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For some time I have been doodling on the piano and came up with this slow-paced piece I quite liked. Sounds somewhat classical (with a bit of "Rush E" meme vibes to it) but what I found mostly interesting was the melody, especially the chromaticisms around G and D. Since piano is not an instrument I'm that comfortable with, it was particularly exciting for me to be able to speak through it using such a non-trivial language. In 2026 I picked up this piano idea, extended it with orchestration, rhythm and made an A section for this track. The B section came from a harmonic idea I had some time ago (coincidentally also explored in the keyboard), where I would have a bass note looping for 2 notes (ended up being B to G) and a higher note looping for 3 notes (ended up being A to G to F#), from which 2 x 3 = 6 chords would naturally pop up. Added one bar each for an atypical 6 bars/chords progression, repeated it and added two more chords that intentionally increase tension and resolve back to the first chord. So a 14 bar progression... that doesn't sound weird or forced. It's one of the ways I compose sometimes: pick up on a pattern of theoretical idea and try to make it sound like music, not an exercise. The name of the song is what it is because the piano part evoked that vibe to me from the get go, but also because 2025 was a year of loss and seemed like the right time to make music with it.
Last iteration: 03-02-2026
Original idea: 24-11-2024
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Winter is my least favourite part of the year, this music tries to convey both its gloominess and the eagerness of getting back to a more outdoorsy lifestyle.
Longing for more sun and its fusion-powered warmth is where the track's name comes from.
Fusion is another track where I primarily try to raise the bar on my guitar playing skills, making sure I'm technically uncomfortable more often than not.
Last iteration: 09-01-2026
Original idea: 04-01-2026
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A cover of the track "Choraste por não sentir", from the 2014 album "O Passado Volta Sempre" by "Grutera". Electric guitar, bass and drums were added as overlays to the original recording, keeping the same track structure, duration, tempo and pitch. I didn't play drums for a year or so and this was a good excuse to pull out the old MIDI cables and force me to practice a bit. But mostly this was an exercise on composing guitar lead melodies. Covering tracks from Grutera (project from a dear friend of mine) is an itch I have had for years; this scratched it a tad bit.
Last iteration: 30-12-2025
Original idea: 28-12-2025