beyond beats vol. 3 deesolution
Van House
Reality is already out of here
is vaporware what is vaporware what is vaporware
what is vaporware what is vaporware what is vaporware what is vaporware what is vaporware what
what is vaporware
Vaporwave is a musical and artistic genre characterized by the remastering and reinterpretation of various genres such as indie, seapunk, witch house, ambient and chillwave, incorporating styles from other decades, especially the late 70s and 80s. Musically, it is inspired by genres such as funk, New Age and city pop, which are modified through the use of sampling, slowing down and reverb effects, creating a nostalgic and ethereal sound.
Aesthetically, vaporwave draws on a wide range of visual influences ranging from late 1990s web and software design to pixelated images, classical Greek sculpture, Renaissance painting, anime and retro advertising. It also incorporates elements of 3D rendering, vibrant colours and references to science fiction and cyberpunk. In its visual representation, the use of glitch art, old computer interfaces, Japanese typography and other nonWestern writing systems is common, along with visual effects that play with distortion, colour and image fragmentation.
Vaporwave is a postmodern phenomenon that has been interpreted in various ways. For some, it is a critique and parody of consumerism, globalization and 1980s yuppie culture, while for others, it is a nostalgic and aesthetic exploration of the artefacts and trends of past decades. Its ambiguity allows it to oscillate between irony and genuine fascination with retro. In addition, it addresses themes such as alienation, nostalgia and the clash between the digital and the organic, suggesting a reflection on the boundaries between the virtual and the real.
Beyond music, vaporwave is also a digital art movement that develops on the Internet and virtual communities. Its visual references include works by artists such as John Foxx and other electronic musicians from the 1980s, whose graphic concepts have influenced the aesthetics of the genre. In this sense, vaporwave is not only considered a musical style, but a digital subculture that reinterprets technology and art from a nostalgic and critical perspective.
A b o u t D Σ Σ S O L V T I O N D Σ Σ S O L V T I O N D Σ Σ S O L V T I O N D Σ Σ S O L V T I O N
D Σ Σ S O L V T I O N is a vaporwave artist from Entre Ríos, Argentina. He began his musical career in 2017 and has built a unique sound identity within the genre. His music is available on Bandcamp, where he has released several albums and singles, as well as collaborated on various compilations.
Among his other notable albums is “８８, ” released in January 2023 under the UAUH records label, which offers an immersive listening experience with hints of retro nostalgia. In addition, he has released singles such as “That Night,” which captures the essence of an introspective night.
His versatility is reflected in his ability to approach different styles within vaporwave, from slushwave to mallsoft, while always maintaining a distinctive sound identity. His participation in various collaborative projects demonstrates his commitment to the music community and his constant search for artistic innovation.
Their debut album, titled “≈DSLTN I≈ ＰＲＩＭＥＲＳＵＥÑＯ ” , was released in March 2019. This initial work is part of a series exploring nostalgic sounds and ethereal ambients. The series continued with “≈DSLTN II≈ [Ｓｅñａｌ _ Ａｂｉｅｒｔａ]” in June 2019 and “≈DSLTN III≈ ÆS.ARQ_2004®” in October 2019. Each installment in this series has been characterized by an evolution in sound, integrating elements of digital architecture and ambient music.
D Σ Σ S O L V T I O N has also participated in several compilations within the vaporwave community. On "Slushwave From Latam", he contributed the track "_皮膚の下の噂 離さないでください", showcasing his ability to fuse ambient sounds with vaporwave textures. On the compilation "Eternal Vibes Vol. III", he contributed the track "mallsoft で 希 釈 ", exploring the mallsoft subgenre and evoking the atmosphere of shopping malls through nostalgic sounds.
V T I O N
The musical style of ▓▒░ D Σ Σ S O L V T I O N ░▒▓ is primarily rooted in the vaporwave genre, which is characterized by the manipulation of 80s and 90s music to create nostalgic and ethereal soundscapes. Within this genre, D Σ Σ S O L V T I O N explores subgenres such as slushwave and mallsoft.
Slushwave: This subgenre is distinguished by its dense sonic textures and immersive atmospheres, often achieved through slowed-down samples and added reverb effects. D Σ Σ S O L V T I O N's participation in compilations such as Slushwave From Latam exemplifies his ability to create these dreamlike, melancholic atmospheres, blending ambient sounds with vaporwave elements.
Mallsoft: This style aims to recreate the auditory atmosphere of shopping malls, using echoes and reverberations to simulate vast, empty spaces. In the compilation Eternal Vibes Vol. III, D Σ Σ S O L V T I O N contributed the track mallsoftで希釈, capturing the essence of this subgenre and transporting the listener to a desolate, nostalgic consumer environment.
In addition to these subgenres, D Σ Σ S O L V T I O N incorporates elements of ambient music and digital architecture into his compositions. Albums like ≈DSLTN III≈ ÆS.ARQ_2004® reflect this fusion, where carefully structured soundscapes invite introspection and contemplation.
D Σ Σ S O L V T I O N's versatility is evident in his ability to navigate various styles within vaporwave while maintaining a cohesive sonic identity. His approach to sample manipulation, immersive soundscapes, and exploration of themes related to nostalgia and digitalization position him as an innovative artist in the Latin American vaporwave scene.
ts sound
A b o u t t h e i r A b o u t t h e i r A b o u t t h e i r a l b u m s a l b u m s a l b u m s
DΣΣSOLVTION’S “≈DSLTN III≈ DΣΣSOLVTION’S “≈DSLTN III≈ DΣΣSOLVTION’S “≈DSLTN III≈ ÆS.ARQ_2004®” ALBUM OFFERS A ÆS.ARQ_2004®” ALBUM OFFERS A ÆS.ARQ_2004®” ALBUM OFFERS A SONIC EXPERIENCE THAT FUSES SONIC EXPERIENCE THAT FUSES SONIC EXPERIENCE THAT FUSES
VAPORWAVE ELEMENTS WITH A VAPORWAVE ELEMENTS WITH A VAPORWAVE ELEMENTS WITH A RETRO-FUTURISTIC AESTHETIC. RETRO-FUTURISTIC AESTHETIC. RETRO-FUTURISTIC AESTHETIC.
ACROSS ITS SIX TRACKS, THE ACROSS ITS SIX TRACKS, THE ACROSS ITS SIX TRACKS, THE ALBUM IMMERSES THE LISTENER ALBUM IMMERSES THE LISTENER ALBUM IMMERSES THE LISTENER IN SOUNDSCAPES THAT EVOKE IN SOUNDSCAPES THAT EVOKE IN SOUNDSCAPES THAT EVOKE NOSTALGIA FOR THE EARLY DIGITAL NOSTALGIA FOR THE EARLY DIGITAL NOSTALGIA FOR THE EARLY DIGITAL ERA, COMBINING LAID-BACK BEATS ERA, COMBINING LAID-BACK BEATS ERA, COMBINING LAID-BACK BEATS WITH SMOOTH ELECTRONIC WITH SMOOTH ELECTRONIC WITH SMOOTH ELECTRONIC TEXTURES. TEXTURES. TEXTURES. THE OPENER, “HARD WORK THE OPENER, “HARD WORK THE OPENER, “HARD WORK
MORNING _新しい世界へ！, ” MORNING _新しい世界へ！, ” MORNING _新しい世界へ！, ” SETS THE TONE WITH A MIX OF SETS THE TONE WITH A MIX OF SETS THE TONE WITH A MIX OF ETHEREAL MELODIES AND ETHEREAL MELODIES AND ETHEREAL MELODIES AND RHYTHMS REMINISCENT OF THE RHYTHMS REMINISCENT OF THE RHYTHMS REMINISCENT OF THE EARLY DAYS OF PERSONAL EARLY DAYS OF PERSONAL EARLY DAYS OF PERSONAL COMPUTING. THE TITLE TRACK, COMPUTING. THE TITLE TRACK, COMPUTING. THE TITLE TRACK, “ÆS.ARQ_2002,” CONTINUES THIS “ÆS.ARQ_2002,” CONTINUES THIS “ÆS.ARQ_2002,” CONTINUES THIS EXPLORATION WITH LAYERS OF EXPLORATION WITH LAYERS OF EXPLORATION WITH LAYERS OF SYNTHS THAT CREATE AN SYNTHS THAT CREATE AN SYNTHS THAT CREATE AN IMMERSIVE, MEDITATIVE IMMERSIVE, MEDITATIVE IMMERSIVE, MEDITATIVE ATMOSPHERE. ATMOSPHERE. ATMOSPHERE.
"VIRTUAL PROJECTION" AND "COFFEE BREAK {BITSに流れる静けさ}"
"VIRTUAL PROJECTION" AND "COFFEE BREAK {BITSに流れる静けさ}"
"VIRTUAL PROJECTION" AND "COFFEE BREAK {BITSに流れる静けさ}"
STAND OUT FOR THEIR ABILITY TO TRANSPORT THE LISTENER TO VIRTUAL STAND OUT FOR THEIR ABILITY TO TRANSPORT THE LISTENER TO VIRTUAL STAND OUT FOR THEIR ABILITY TO TRANSPORT THE LISTENER TO VIRTUAL ENVIRONMENTS AND MOMENTS OF INTROSPECTION, RESPECTIVELY, USING ENVIRONMENTS AND MOMENTS OF INTROSPECTION, RESPECTIVELY, USING ENVIRONMENTS AND MOMENTS OF INTROSPECTION, RESPECTIVELY, USING SOUND SAMPLES THAT REFER TO DIGITALIZED OFFICE ENVIRONMENTS AND SOUND SAMPLES THAT REFER TO DIGITALIZED OFFICE ENVIRONMENTS AND SOUND SAMPLES THAT REFER TO DIGITALIZED OFFICE ENVIRONMENTS AND CONTEMPLATIVE PAUSES AMIDST THE TECHNOLOGICAL ROUTINE. CONTEMPLATIVE PAUSES AMIDST THE TECHNOLOGICAL ROUTINE. CONTEMPLATIVE PAUSES AMIDST THE TECHNOLOGICAL ROUTINE.
THE ALBUM CLOSES WITH “SOFT DESIGN,” A COMPOSITION THAT THE ALBUM CLOSES WITH “SOFT DESIGN,” A COMPOSITION THAT THE ALBUM CLOSES WITH “SOFT DESIGN,” A COMPOSITION THAT ENCAPSULATES THE ESSENCE OF SOFT, MINIMALIST DIGITAL DESIGN, LEAVING ENCAPSULATES THE ESSENCE OF SOFT, MINIMALIST DIGITAL DESIGN, LEAVING ENCAPSULATES THE ESSENCE OF SOFT, MINIMALIST DIGITAL DESIGN, LEAVING THE LISTENER WITH A SENSE OF CALM AND REFLECTION ON THE INTERACTION THE LISTENER WITH A SENSE OF CALM AND REFLECTION ON THE INTERACTION THE LISTENER WITH A SENSE OF CALM AND REFLECTION ON THE INTERACTION BETWEEN HUMANS AND TECHNOLOGY. BETWEEN HUMANS AND TECHNOLOGY. BETWEEN HUMANS AND TECHNOLOGY.
AS A WHOLE, "≈DSLTN III≈ ÆS.ARQ_2004®" IS PRESENTED AS A WORK THAT AS A WHOLE, "≈DSLTN III≈ ÆS.ARQ_2004®" IS PRESENTED AS A WORK THAT AS A WHOLE, "≈DSLTN III≈ ÆS.ARQ_2004®" IS PRESENTED AS A WORK THAT NOT ONLY PAYS HOMAGE TO VAPORWAVE AESTHETICS, BUT ALSO INVITES A NOT ONLY PAYS HOMAGE TO VAPORWAVE AESTHETICS, BUT ALSO INVITES A NOT ONLY PAYS HOMAGE TO VAPORWAVE AESTHETICS, BUT ALSO INVITES A DEEP REFLECTION ON TECHNOLOGICAL EVOLUTION AND ITS IMPACT ON DEEP REFLECTION ON TECHNOLOGICAL EVOLUTION AND ITS IMPACT ON DEEP REFLECTION ON TECHNOLOGICAL EVOLUTION AND ITS IMPACT ON SENSORY PERCEPTION. SENSORY PERCEPTION. SENSORY PERCEPTION.
·
ＲＡＭＴＥＳ · (希望は私
The album " · ＲＡＭＴＥＳ · (希望は私たちを⼈間にしま す。)" by Argentine artist ▓▒░ D Σ Σ S O L V T I O N ░▒▓, released on December 1, 2023, is a work that fuses genres such as vaporwave, latenitelofi and electronicwave, creating an introspective and experimental atmosphere.
The album title, “ 希望は私たちを⼈間にします。 , ” translates from Japanese as “Hope makes us human.” This phrase reflects a theme of searching and reflection, inviting the listener to explore deep emotions and mental states.
1. “ ·ＲΛＭＴΣＳ· ” : This track sets the tone for the album with ethereal sounds and an immersive structure, immersing the listener in a unique sonic experience.
2. "Estímulos": A composition that fuses elements of future funk, offering a rhythmic and energetic experience that contrasts with the general atmosphere of the album.
3. "Convertibility": Incorporates influences from abstract industrial, creating a dense and experimental atmosphere that challenges the conventions of the genre.
私たちを⼈間にします。 )
4. "〖⼼碎〗" : A composition that stands out for its emotionality and sound depth, exploring themes of heartbreak and vulnerability.
The album is characterized by sample manipulation and the creation of immersive soundscapes. The use of synthesizers, reverb effects and track slowing techniques contribute to an introspective and surreal atmosphere. Each track offers a unique listening experience, inviting the listener to immerse themselves in a sonic narrative that challenges the conventions of the genre.
" · ＲＡＭＴＥＳ · (希望は私たちを⼈間にします。)" is a work that invites introspection and personal discovery. Through its fusion of genres and experimental approach, the album offers a listening experience that challenges conventions and explores the depths of human emotion. For a complete experience, it is recommended to listen to the album in its entirety, as each track contributes to a cohesive sonic narrative that invites introspection and personal discovery.
LEDS
The album "LEDSky™" is a production by the Argentine artist ▓▒░ D Σ Σ S O L V T I O N ░▒▓, released on June 18, 2019. This work is characterized by a fusion of genres such as vaporwave, trap, jazzwave and cyberpunk, creating a sound atmosphere that evokes futuristic and dystopian landscapes.
After completing his previous album, S E L F D E S T R O Y, and taking some time away from music production, D Σ Σ S O L V T I O N decided to embark on a new project in late February 2019. He aimed to replicate the dark and futuristic aesthetic of his previous work, incorporating trap rhythmic structures and psychedelic-tinged jazz samples. As he progressed through the creation of the album, his fascination with cyberpunk and androids significantly influenced the artistic direction, leading to changes to the cover art and details present in the songs to reflect this theme. Production on the album extended into June 2019.
In short, “LEDSky™” is a work that combines various musical genres to create a futuristic and reflective atmosphere, inviting the listener to explore the complexities of a world where technology and humanity are intricately intertwined.
Sky™
1. “Winter2[infinite]soul$”: This opening track immerses the listener in a cold and ethereal atmosphere, combining trap beats with melancholic melodies that evoke endless winter landscapes.
2. "int0_your_P l a s t i c e y e s": With a duration of 2:59 minutes, this song features a mix of synthetic sounds and hypnotic beats, creating a feeling of immersion in a digitalized world.
3. "UrbanSignal": This track captures the essence of a futuristic metropolis, using jazz samples fused with electronic beats to depict vibrant urban life.
4. "Collapsed": At 3:50 minutes long, this composition offers an intense listening experience, reflecting disintegration and chaos through distorted sounds and a complex rhythmic structure.
5. “The machine that knew everything”: As the closing track, this 5:03 minute song explores the relationship between humans and machines, using elements of cyberpunk and vaporwave to create an intriguing sonic narrative.
“LEDSky™” stands out for its ability to transport the listener to a dystopian future, where technology and humanity coexist in a complex relationship. The use of jazz samples, trap beats, and electronic elements creates a unique fusion that reflects D Σ Σ S O L V
T I O N’s artistic vision. The influence of cyberpunk is evident throughout the album, both in the musical compositions and in the overall aesthetic of the project.
I n t e r v i e w I n t e r v i e w I n t e r v i e w
1. How did your project DΣΣSOLUTION come about? What inspired you to start creating electronic music?
DΣΣSOLUTION started in 2017-2018 as a personal need for expression rather than a sonic experiment. During a tough time, he discovered vaporwave, and its digital, melancholic aesthetic resonated deeply. Already playing guitar and keyboard, he began producing music to express his inner world. His first album, [SELFDESTROY], captured this phase, and DSLTN 1 fully embraced vaporwave. Over time, he has continued exploring new sounds and styles.
3. When did you decide you wanted to share your music with the world? What motivated you to upload your work to platforms like Bandcamp?
In early 2019, he decided to share his music, wondering why he couldn’t do it if others could. After releasing his first album, he wanted to keep publishing his work instead of leaving it unheard. He also noticed a lack of authentic Argentinian vaporwave and chose to use national samples to stand out, which motivated him to continue.
2. Why did you choose the name DΣΣSOLUTION and what does it mean to you?
The name DΣΣSOLUTION means "Dissolved in desolation, " reflecting the melancholic essence of his music. In 2019, he started sharing his work on Bandcamp, noticing a lack of Argentinian vaporwave with a distinct identity. His albums explore various emotions and concepts, from nostalgia to futuristic themes like transhumanism and cyber-reality. He describes his style as music that revives forgotten nostalgia and love for a "future past. " His creative process depends on inspiration, using samples as a foundation, with intuition guiding single tracks and a defined concept shaping full albums.
4. What emotions or themes do you aim to explore in your music?
It depends on each album and the message I want to convey. Initially, my personal emotions were the main driving force, especially using Argentine samples. Later, I started experimenting with classic vaporwave and different production techniques, exploring the musical and visual aesthetics of each project. Each album carries a vision or concept. For example, "That Night" is about a night of passion, while "LEDSky" is more abstract, blending vaportrap with smooth jazz and a sensual atmosphere. In the future, I want to explore topics like human-machine relationships, cyber reality, transhumanism, and other contemporary phenomena that align with the cyberpunk essence of vaporwave.
5.How would you describe your musical style to someone who has never heard your work?
If we talk about my classic vaporwave works, I would describe it as music to revive forgotten nostalgia and love for a past future.
6.How is your creative process when composing and producing music? Do you follow any specific rituals or routines?
Desire is what defines whether I create or not. When I do, I’m inspired by the sample itself, focusing on juicy parts to loop or remix. For a single track, I follow my intuition; for an album, I plan the concept first, then choose samples to match the idea and start creating.
7.What equipment or software do you prefer to use to produce your tracks? Is there anything you consider essential in your studio?
I don’t have a studio. I use a 2012 notebook with FL Studio 20 and Audacity (which I almost never use). The only essentials are my spirit and the RAM, those are my only options #livingontheedge lml!!!!!
8. Do you prefer to work solo or collaborate with other artists?
Honestly, my creative pace has slowed down so much that for now I prefer working solo, since collaborating with others requires organization and meeting deadlines (which has been tricky for me lately). That said, I always have ideas that I think could turn out great if worked on together. So far, I've collaborated on an album with Sr. Noseybonk /a.k.a. Jazmín.bot/, and with DANCΣ GRL and WINTER FM on some specific tracks. I’d love to collaborate again someday on something interesting
9. What is the most challenging part for you when creating a new track?
Being in the right mood to take it to its final version. A song can always be improved, and many people struggle to listen to their own music when they feel they haven't fully explored its potential. I feel the same way, even with entire albums. But when I’m in the right mood, I give everything to make the track express what it needs to. It's hard to force myself into that state, and sometimes it even has the opposite effect. It’s a doubleedged sword.
10. How long does it usually take you to complete a song from the initial idea to the final result? It depends on the song. For deesolvtion, probably about two weeks each if I have the time. I don't have the same routine as I did in 2019 when I started, and honestly, music production is much harder for my current self.
11. What genres or artists influence your sound and style the most?
I’ve focused on finding my own style, but artists like Macintosh Plus, Chuck Person, and Saint Pepsi influenced me early on. My sound has evolved as I discover new techniques, and each album has developed on its own over time.
12. How would you describe the overall atmosphere of your music? What emotions do you aim to convey to your listeners?
I aim to create a space that disconnects from the ordinary and immerses in nostalgic or strange sounds. Most of my music expresses nostalgia and melancholy, though my latest album adds a conceptual and political side. Every piece has its own world and message.
13. What elements of vaporwave or ambient attract you the most to incorporat e them into your music? I love oldschool techniques like glitch, looping, sampling, pitching, and the use of reverb and delay. From ambient, I focus on fitting textures and adjusting reverb to match the desired depth.
14. Do your personal experiences reflect in the songs you compose?
Definitely. My music reflects not just nostalgia but also sadness and personal struggles. Vaporwave resonated with me because it helped me connect with the past and express the emotions I was going through during tough times.
15. What do darkness and light mean in your music, and how do you integrate them into your compositions?
I’ve never really thought about it, but most of my music feels like shades of darkness, except for a few tracks that, despite being nostalgic, lean towards relaxation instead of sadness. The atmosphere of each album reflects the balance of darkness and light. Some albums are more joyful and relaxing (like DSLTN III or RACING THE WORLD!), while others are filled with strange, sad nostalgia (like RAMTÉS or DSLTN I). The aesthetic of each album sets the tone.
16. What inspired the creation of LED SKY, and how did you conceptualize the album?
LED SKY came from my fascination with cyberpunk and androids. I initially wanted to create "-SELFDESTROY- 2," but my musical exploration led me towards vaportrap instead. I wanted something futuristic, but not the harsh sounds of cyberpunk, like dubstep. Instead, I aimed for something relaxing that stayed true to vaporwave’s essence. I explored smooth jazz and lounge, creating a new futuristic sound I called "corporate cybertrap." The album ends with a monologue from an android, revealing its consciousness of slavery. It added depth and philosophical weight to the album.
17. Does the title LED SKY have any particular meaning? How does it connect with the musical content? The title “LED Sky™” was meant to resemble a commercial brand. It doesn't have a specific story; it's part of the overall aesthetic. Musically, it evokes a futuristic, corporate feel. Imagine a starry sky lit up by LEDs, all visible thanks to a tech company. The album’s tracks are its soundtrack, offering comfort rather than destruction. The connection lies in the consistency between the aesthetic elements to create a coherent message.
18. Is there a song on the album that has special meaning for you or was particularly difficult to create? “The Machine That Knew Everything,” the last track, is different from anything I had done before. It was my first time integrating a clear theme into an album (besides SELFDESTROY). It encouraged me to create more concept-driven albums. Without that track, it would have just been a unique vaportrap album, but it pushed me to explore deeper concepts.
19. How did you convey the futuristic and experimental atmosphere of the album?
Each song had its own treatment. I used vaporwave production techniques that helped create a futuristic vibe, like glitch, reverb, random loops, delays, and phasers. A few sound effects (foley) added to the futuristic atmosphere. But the key was the rhythmic composition— the choice of hi-hats, kicks, and snares was vital in setting the tone. It’s trap but also lounge, though not purely lounge. This balance helped create the futuristic, nocturnal atmosphere. The cover art took months to finalize, and the track titles and the final track completed the entire vibe.
20. Was there any change in your musical approach or creative process when working on this album compared to previous works? I'm not sure, but I think I just felt more encouraged to explore cyberpunk and futuristic elements through NΣPTUNӨ, my other project where I make ambient and dreampunk. I channeled my fascination with these topics into that project, which I couldn't fully express in vaporwave.
21. In LED SKY, you use smooth but very atmospheric sounds. How did you achieve such an immersive blend? I think it happened by accident. At that time, I was still learning to properly manipulate and configure the effects in FL Studio. The use of phaser and wellconfigured reverb were key to building that atmosphere, and the jazz samples were perfect for processing with these effects.
22. Do you prefer using digital synthesizers or exploring analog sounds in your music?
99% of what I did with deesolvtion was made with samples. I hardly used any synthesizers for vaporwave. But with NΣPTUNӨ, I dared to use an old Yamaha keyboard from the '80s, which I inherited from my family. I composed most of Crónicas del Templo with it, and also used it for ＩＮＡＥＴ
, combining it with digital synthesizers. I like both, but digital ones are more customizable, and I’m intrigued by how far I can push them.
23. How do you maintain originality in your music as you explore different styles within experimental electronic music?
I find originality in how I make my music. Being experimental opens up endless possibilities. I think originality comes from keeping that “how” open to possibilities, while my style refines itself. Many artists in experimental electronics do the same—they discover techniques or sounds from different styles, adopt them, and build their own style, sometimes unintentionally, sometimes on purpose. For me, originality lies in enriching my ideas with something from another style, rather than imitating or copying.
24. Is there any sound, technique, or collaboration you’d like to experiment with in the future?
I’d love to collaborate more with people I know and contribute to the new neurocybernetic and electronicwave movement. It’s a proposal I’m really excited about, and I see a lot of potential to create conceptual music that addresses current themes (like excessive phone use, social media, psychological issues caused by technology, transhumanism, AI, surveillance, privacy, etc.). Those are subjects I personally want to explore with this new style, and I think they’re really important.
NC LU S I O
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The deesolvtion project is characterized by an experimental and personal approach within vaporwave and related genres, exploring classic techniques like looping, glitch, and the use of reverb and delay. Despite equipment limitations, the project is driven by attitude, inspiration, and ideas that arise in the moment, standing out for its authenticity rather than technical sophistication. The music of deesolvtion plays with the duality of darkness and light, adjusting its atmosphere and message depending on the album and the emotion it aims to convey, ranging from melancholy to relaxation. While futuristic influences are present, the project tends to focus more on the introspective, emotional, and nostalgic, establishing a deep connection with the listener through themes that explore both personal and universal aspects. The creative process behind deesolvtion is a constant search for the right mood, knowing that each piece carries a message beyond the sonic. Although the project prefers solo production, there is an openness to future collaborations within emerging movements like electronicwave and neurocibernetic, aiming to further push musical boundaries and address current themes related to technology and society.