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2011-2012 Barcelona

Release date: 17.01.13
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Who is el Pricto?

El Pricto, is an alter ego, a pseudonym for doing things that are not normal. Behind this weird and sort of ridiculous name is a responsible normal guy called Andrés Rojas, who works as technician in a theatre in Barcelona to make a living. This person was born in Venezuela in 1977, studied music and sound engineering in Caracas and started to work at age 21 as musical producer for a TV channel. After 4 years of doing music for TV and short films, moved to Barcelona in 2001 to try to make a living by doing more interesting music, but things didn’t turn out so well at the beginning...


How was your experience at the beginning when you arrived to Barcelona before creating Discordian Records? Was it easy to start playing and getting into Barcelona's jazz and improvised music scene? ... how is it now?

Well, through many years of living in complete illegality and working in different underpaid shitty jobs I managed to get the Spanish citizenship and later the nationality, without which I would be fucked. In these years I had the opportunity to study composition with Catalan composer Joan Carles Sender. I’m really grateful to this guy because I didn’t have enough money to pay him by then and he offered to train me for free, with only one condition, that the lessons would be imparted in bars instead of in his studio.

This was a really interesting experience, he would invite me beers and cigarettes while correcting my harmony and counterpoint exercises and explaining very profound theoretical things, like for example, how to make a good fuge subject or how to orchestrate a tutti chord in a balanced manner in various classical styles, as different as Bruckner and Stravinsky.
Meanwhile I also made many different attempts to make a living out of music by creating a Latin-progressive jazz-rock fusion band called Kandanga and in a more desperate attempt to play more I created The Oddvisers, a new wave band that played in many venues in Barcelona with no discernible commercial success.

The thing is that when I started playing in Barcelona (around 2003) the musical scene was deteriorating very rapidly, many musical venues where being closed down due to neighbour complains and live music was being progressively undervalued. Suddenly I started to find myself in a city where musicians had to pay for playing instead of the opposite. This situation is still a constant and all musicians have to struggle and be very creative to find ways to show their work without loosing money...
Suddenly in 2008 a door opened for me when Arco y Flecha, a production company from Barcelona known for bringing the best avant jazz artists to play in the city, offered me to lead and co-create a band for playing music by Frank Zappa. I was a Zappa fan, knew all his music by heart and had all the records (which are many), so the offer was perfect for me. I started to work on transcribing and arranging the music for a band formed by drummer Vasco Trilla Aka Thriller, saxophonist Alfonso Muñoz Aka Don Malfon, keyboardist Jo Miramontes and Guitarrist Director Wilkins, we where all very close by then, like family.
This made it very easy to work together, but we needed more musicians to make the project sound more powerful so we where introduced to bassist Sebi Suarez, saxophonist Liba Villavecchia and trumpeter Guillermo Calliero by Arco y Flecha. The band was called Filthy Habits Ensemble and intertwined the music of Frank Zappa with elements of free improvisation and jazz. With the unconditional support of Arco y Flecha we played in many jazz festivals in Spain, the Zappamundo festival in Portugal and also in Germany, where we played at Jazzahead and the infamous Zappa oriented Zappanale festival, known for being the biggest of its kind in Europe (probably in the world).

This effort got me enough reputation and credibility to progressively start playing in the improvising and jazz musical scene of Barcelona. It was a turning point in my musical career.


How and when is Discordian Records born? You have a recording studio, right?

Discordian Records was born thanks to many factors and circumstantial coincidences. I met Jim Colominas and Rafael López (Ralph Lopinski) when I arrived to the city in 2001, they are both wonderful sound technicians, both are also from Caracas and studied sound engineering at the same place I did. I was introduced to them by a friend that told me that they had a recording studio in Barcelona. They had a really nice place in the city’s old downtown. I went there to meet them and since then our friendship has flourished to unexpected heights. They lost that studio many years ago, and we got together again to work after Jim got a job with Catalan record label Ventilador Music, there we where in charge of recording and producing records at the label's recording studio.
It was a very nice studio with a big recording room; it was there where the idea of recording free improvisation groups first came to my mind. This was around 2006, before the Zappa project and everything. I used to go to the studio afterhours and invite as many musicians I could to record conducted and free improvisation. Things where going quite nice, but not for long, immediately the owners of the studio noticed that we where using the studio for personal purposes, and told us that everything recorded there must be paid for.

This started a heated argument and we got kind of fired... After that we where convinced that we had to make our own studio, suddenly Jim's good friend Sergi Cochs asked Jim to join him in a studio he was sharing with other musicians to help him record and produce his music. Jim recommended my musical abilities to Sergi and we met and worked together in his pop rock project. As time passed things changed and everyone from the studio left progressively, leaving Jim as the only one in charge of the studio. It was really hard to maintain a studio alone; I helped him as much as I could until one day he decided to quit his way of life and go to live in the country side. So there I was, he left me the studio to take care of it and pay everything, so I got as many bands I could and rented the recording room for rehearsing. And this is the beginning of everything, it was April, 2011 and the former idea came back to my mind but this time I had complete freedom. So I started the Net Label, made all the web pages, with the help of Jim and his good friend, designer Abraham Fuentes, I got the logo, and made the first Discordian record... SNAFU Project, an improvising experiment with different musicians, some of which were very young and were starting to get into the free improvisation thing.
By that time Jim, Rafael and I were reading a lot about discordianism, chaos magic and the sort, we where very influenced mostly by Robert Anton Wilson's books, particularly his classic Prometheus Rising. This brought up a unifying concept with which we could all feel identified with, a counter-cultural philosophy under which we could all relate to and derive a way of working. My main objective was to create a counter-cultural platform as an alternative for avant-garde musicians to show their work and share ideas with other musicians, two necessary factors that are indispensable to create an improvising musical scene.

Since there where almost no places to perform in the city without paying for playing this alternative at least could bring musicians together and show their work through recorded music, which could later help them find gigs somewhere and help create a scene that is absent thanks to institutionalized social coercion

We had the pleasure to meet you in 2011, by then you had only 10 records published. Now you have more than 30 records and projects born at Discordian under the conduction of your initiative. At Discordian there are hybrid projects of rock in opposition and extreme jazz, and many compositions in the style of free improvisation and free jazz. Tell us about your working dynamic: you select and invite musicians, and on occasions give them written music parts or conduct them... right? We've heard that you mix and master in one week, and upload it online immediately, is this factual?

At the beginning I did almost everything myself. Many of the first records are mixed and mastered by me in approximately one week. Now is different, I'm lucky to have very close and talented friends that have adhered to the Discordian project, now I only record and select the projects, and make the final decisions about how we should evolve as an artistic platform. We have our specific functions but we all contribute with ideas openly without any restrictions, we know each other pretty well, like a family. Jim Colominas is the main mixing agent, Ralph Lopinski (Rafael López) is the master masterizer, and I'm the main recording agent.

We can all do any of these things but naturally this is the way it has ordered itself for the moment. Pure chaotic auto-organization. A symbiotic singularity. We all contribute and are committed to the crime of weird music.
Another of my functions is to create/select which projects to record, sometimes there is a group or a composer with a project, at other times musicians tell me with whom they'd like to record with and the group is made for the occasion, and at other times I select musicians and write pieces that could be performed without previous rehearsal. I normally use conduction for these pieces, the important thing is to keep it simple, and so I normally try to get all the complexity through conduction and verbal indications in the scores. The most difficult musical element to perform without rehearsal is rhythm, in particular tight rhythmic precision. So I normally avoid rhythmic precision and go the other way completely, with verbal indications over the notes I explain how to perform those notes rhythmically. Controlled freedom... sounds kind of paradoxical, but the results are wonderful most of the times, especially if you work with good improvisers. I get a lot of ideas for this in kind of writing from 3D animation, when specific function parameters are programmed for an element to move in a certain manner automatically until another parameter is applied. I use variation parameters, normally selecting discrete musical elements to vary in a certain way, for example, rhythm+register displacement+dynamics. When you give these performing directions to humans instead of machines you can get a complexity that adapts itself to context.

The same experiments applied to form are normally not so interesting, but I keep on looking for ways to compose music related to the aesthetic or philosophy of free improvisation or free jazz, sometimes mixing it up with elements of rock, hardcore, contemporary music, etc. I also create and select groups that mix improvisation with avant rock, hardcore, extreme jazz, weird pop, etc. Normally these groups have rehearsed before recording.

I also look for composers who'd like to create projects for Discordian, Owen Kilfeather is one example of this, in his record he had all the musicians already, he composed and rehearsed before with them, and we recorded almost everything in about two days.

Sometimes musicians have the concept for their albums, but normally I have to come up with the concepts, every time I'm more assisted with ideas by Ralph Lopinski and Jim Colominas for the concepts and now we also have a great designer for the covers, Wancalo. Before I even had to make some of the covers, or ask if any of the musicians would like to do them, or hunt a designer or photographer from the web and ask for permission to use their work on an album cover, etc.


Do you have any musical projects with which you work in a more continuous way?

Yes, my main projects are Filthy Habits Ensemble, Outerzone, Sin Anestesia and Reptilian Mambo. With Filthy Habits Ensemble we are rehearsing a new repertoire that consists on some works by Stravinsky. I arranged the instrumental suite of L'historie Du Soldat, the Concertino and 3 Pieces for String Quartet and we are recording this on January 2013.

With Outerzone I only compose and produce, I'm working on a suite based on William Burroughs's short novel Ah Pook Is Here.
Sin Anestesia is a saxophone collective (around 10 saxophones of all sizes), we've edited 3 albums and we're still rollin', I normally conduct and compose, sometimes I also play the saxophone with them. In some recordings and concerts I've also added drums.

With Reptilian Mambo I play Synth, Saxophone and also conduct and compose, it is a very energetic riff oriented band with two drummers, an interesting mix between hardcore, free jazz, noise and free improvisation.


I saw in Facebook that Arco y Flecha has organized a concert with bands and projects from Discordian, how does it feel to see what Discordian has achieved in Barcelona, propelling some of the best jazz and improvising musicians in town? Even though all of them were already in the city, and collaborated with each other, no one ever before had created such a project in which collaboration was so notable... now you have a new family.

The feeling is great, as with anything that you think is special and others also do, and are willing to help make it even more special. I'm truly grateful to Arco y Flecha for giving us this opportunity. I really hope to contribute on the creation of a scene for these musical ways of expressing. Is one of the main objectives of the Discordian Community, to unite the avant garde in Barcelona and have fun!
For the moment it's just about having a good time and enjoying, there has never been a real business with this music, at least in Barcelona, so it's easy to just get together and play/record. Sometimes you get paid sometimes you don't, it's a marginal art form and we all know it. So we do it mostly because we like it, which makes it easy to create a cooperative project like Discordian. It could be said it is a kind of family, yes, but it's actually the normal thing in a situation like this, musicians meet each other and the circle of musicians expands progressively, a fact that favours the amount of different combinations and collaborations between musicians. This enriches musical creation in everyway. So I would say that instead of a family we are more like a viral community, we are expanding and new musicians are continuously adhering and cooperating... or getting infected...


Tell us about your conception about music? You moved from weird progressive pop to rock in opposition, free jazz and fusion, and of course, conducted improvisation, instant composition and free music. What do you expect to provoke in the listeners and the audience with this kind of projects?

For me music is everything, I live for music. But I also live to be happy and enjoy life, and for me making music should be completely engaged with that. So every project or musical direction I've taken has been for the fun it produces to me, when it stops being fun and enjoyable I just stop and move on to another area. This doesn't mean I won't come back later to it if it turns to be fun and enjoyable again.

My main objective when I create a work of music is to address all the aspects of the life experience of the listener; I associate them with the four elements, where every element symbolizes an experiential factor. Earth is sensorial perception, music has to be in good conditions to be perceived by the senses, it has to be well performed, well recorded and in the proper context. Water is emotion, music has to create strong emotions in the listeners, it has to make them feel things related with the idea or concept chosen. Air is intellect, music has to transmit and provoke strong intellectual reactions, it has to make us think and calculate its own variables. Fire is will, the will to do, music must transmit the will of its creator, it must inspire us to be willing to do, to create more, to change whatever needs to be changed. When these four elements are balanced in a work a fifth element appears... Spirit, which is the sense of identification or union with everything. A mystical or metaphysical experience of wholeness or completeness.

I think I haven't reached this intensity, balance or profundity in my music yet, but it's my goal to achieve it. Another thing that concerns me is music cognition; I think it is my responsibility to maintain the attention of the listener through a complete composition. The listeners should not loose attention or get bored during a performance; there are many techniques to achieve this and I do my best to apply them in a practical way when improvising, composing, programming, etc.


Bands and cultural projects that inspired Discordian’s philosophy?

Discordianism, Zappa, Witold Lutoslawski, freaks, Tzadik, Free culture, Chaos Magic, Austin Osman Spare, Internet Archive, Chaos theory, Les Claypool, Aleister Crowley, Ruins, Robert Anton Wilson, Sax Ruins, John Cage, all Net Labels, Free Music Archive, neighbors, police and socialism, two party system (or politics in general), Noise music, The Residents, Sun Ra, corporations, sheeps... etc.


Is there any other curatorial project in Barcelona you would like to recommend?

LEM festival, La Justa Entropía festival, L’ull Cec, independent programmers/musicians like Pablo Rega or Albert Cirera. Writer Jack Torrance and Arco y Flecha.


Now, Discordianism? Do you consider that the experimental and noise music scene is changing in the last years in Barcelona? If yes, how?

It seems that more places are being open... but I'm still not sure if it's only a rumour. For the moment we are still in need for places to play.


Name other projects and bands you consider people have to hear (no matter the styles or genres...) in Barcelona, Spain and in your native country?

I'll never force anyone to do anything, it's against my ethics. So no one has to hear anything. I can only suggest to everyone to keep on listening to music, to go to concerts, investigate to make the best of their life experience. Music is one of the few things in life that are made exclusively for enjoyment, no dissonant music or noisy music is less enjoyable than more consonant and soft music, is the openness of mind and the context what allows the listener to enjoy all musical experiences.
Anyway some important projects in Barcelona could be mentioned: BIB (Banda de improvisadores de Barcelona), IED8, Sin Anestesia, Free Art Ensemble, Reptilian Mambo, Outerzone, Bruitage, Paolo Angeli/Oriol Roca Duo, Maal Ensemble, Filthy Habits Ensemble, Agustí Fernandez Quartet...


Why did you decided to move out from your country?

I did not fit in the society I was brought up. In fact I happen to be kind of reticent to any social system based on the likes of a majority. Barcelona is the best place I've seen yet, for me to express and be myself.
On the other hand Caracas is a very dangerous city; and everything is made for cars, not for walking. I never had a car or a licence to drive. As everywhere, the majority decides what kind of society they want to live in, and in that case it was very far from my likes and personality, so the more logical thing to do was to move out and try to find a place less dangerous that considers important the necessity of walking comfortable on the streets.
Recently I've been offered a composing commission in Venezuela... strange things happen sometimes. It's a work for Bass Singer and Orchestra, to be performed at The Latin American Contemporary Music Festival in Caracas in 2014. So I'll probably go there to see the performance, but I'll come back as soon as it's done.


Interesting names of artists and bands working with radical & original projects related to noise music, post-rock, rock in opposition... in the present days.

I like some Japanese bands like Sax Ruins, Köenji Hyakkei and Typographica, I'm also a big fan of French guitarist/composer Marc Ducret, especially his album Le Sens de la Marche. Jean Derome and Tyondai Braxton are also doing very interesting stuff. Other interesting bands are Ahleuchatistas, Neo, Ultrazook, Little Women, Fat32, Hella, Upsilon Acrux, Pak, Gay Beast, Extra Life, Sleepy Time Gorilla Museum, SchnAAk, Zs (this one is one of my favourites), Dispo, Zu, among many others. There's a lot going on now with the other music. I also like some extreme metal outfits like Meshuggah, Cryptopsy, Nile, Decapitated, Dying Fetus, Car Bomb, etc...


In a few words how you will describe the sounds of Discordian?

Scratchy, grabbing, lifting, breaking, squeaky, freaky, awkward, absurd, bizarre, contradictory.


How does music affect your life? Do you remember the reason you became a musician?

Music is everywhere in my life, I'm doing musical stuff all the time, most of it is theorizing compositional systems, composing, playing the saxophone, the clarinet, the piano, setting up recording dates and recording, setting up rehearsal dates and rehearsing, arranging, etc... I'm completely absorbed by music.

Since I was 6 years old I loved to improvise at the piano, there was a piano at my house and my two sisters used to play it a lot, my parents did not wanted me to become a musician, so the piano lessons where almost always reserved to the girls only. Instead I was subscribed to different sports, but I always improvised, it was my most natural tendency, I also improvised when at 12 years old got my first guitar and kept improvising at the piano every time I could. Went to the conservatory after bombing my parents with my love for music, at 14 dropped out and bought an electric guitar.

I was also a proficient illustrator, but when I was 18 years old I had to decide and immediately chose music and left illustration completely. I took music seriously after discovering Zappa, and trying to figure out the provenance of his musical ideas I entered into the other music, the other people, the magma of a creative and innovative sound world hidden from the ears of the majority.
I also discovered through Zappa that I loved to compose. So I got into contemporary music at age 19 by listening to Varese, Stravinsky, Bartok, Webern, Schonberg, Berg, Lutoslawski, Boulez, etc. Spent all my time studying books on harmony, counterpoint, form and orchestration, also analysing scores and going to composing seminars, it was non stop. Suddenly at 21 after hearing too much Coltrane, Ornette and Dolphy realized the guitar was not for me, bought a clarinet, then a saxophone and since then everything has gone in a single direction.


What do you think are the advantages and disadvantages of independent curatorial spaces?

The main advantage is that the curator has no social, political or economical pressure to expose works. It's completely free in that sense and this is pure utopia, which is great. The disadvantage comes if curators are not apt to exercise their function, this leads to disinformation or poor cataloguing. In my case I'm just an artist trying to make quality projects with musicians of my geographical area; my curator facet is derived from this activity, my work in this is consequential.


Tell us about the reality and musical opportunities for improvisers in Catalunya and in Spain for people coming from abroad? And which important mistakes you consider new curators and independent spaces normally commit?

As I said earlier, there is insufficient space and public interest for improvisers to expose their music. This peripheral music is not easy to deliver to most audiences and my recommendation is to unite with the others, get a job (if you need money) and do it for fun.

And...come to Discordian! It's a way of life!!!

There are basically three spaces to play this kind of music in this city, these are: Robadors 23, Freedonia and Heliogábal. The rest are civic centres or underground, is difficult to find gigs, you have to get in touch with the people here and see if you can infiltrate at some other space. Gracia Territori Sonor are the only organization that works with this kind of music since a while, they program improvisation nights (impro nit) at different clubs in town and organize the most important festival for experimental music in Barcelona, The LEM Festival. But they are commited almost exclusively to experimental music. New blood is arising with small festivals like La Justa Entropía or our newly born Discordian Community Riot! There is also an Italian collective called Human Feather, they are programming a lot of Math Rock, Post Rock, and other wonderful rock oriented rarities.


Future challenges and interests for Discordian? Is there interest in editing physical albums?

We have two challenges for the near future, first is that together with Arco y Flecha we want to promote concerts of Discordian projects in Spain and abroad. Second is that we are looking for a place to do underground concerts of this music.

We are not interested on editing physical CD albums at all, we think is a dead format that will fade out completely in less than two years. Vinyl is kind of interesting but we are still thinking about it, can't tell you much about this yet.



El Pricto, 26th December 2012, Barcelona





1. Son Importantes
from Todos los sonidos​.​.​. by Agustí Martínez & Quicu Samsó

Agustí Martínez: Alto Sax and Clarinet
Quicu Samsó: Drums
Recorded and mixed by Guille Pérez at Bonso Studio, Barcelona October 30th 2010
Mastered by Ralph Lopinski. Album concept by Pricto/Lopinski
Produced by Martínez/Discordian - released 02 December 2012


2. Slack #3 (Pipe Smoke)
from Live In Krakow by Pseudo-Devival I

Paulina Owczarek: Alto and Baritone Saxophone
El Pricto: Alto Saxophone and Conduction
Wiktor Krzak: Bassoon
Michal Dymny: Electric Guitar
Vasco Trilla: Drums and Percussion
Tomek Choloniewski: Drums and Percussion

Recorded live at Bezdroza Festival in Alchemia, Krakow on August 20 of 2012
Mixed and mastered by Ralph Lopinski
Produced by El Pricto - released 10 September 2012


3. Metadoloris Ultra
from H+ by Sin Anestesia

Liba Villavecchia: Soprano Sax
Tom Chant: Tenor y Soprano Sax
Agustí Martínez: Alto Sax
El Pricto: Alto Sax and Conduction
Pep Pascual: Tenor Sax
Miguel "Pintxo" Villar: Tenor Sax
Don Malfon: Baritone Sax
Luís Vallès: Baritone Sax
Ferrán Besalduch: Bass Sax

Composed and Produced by El Pricto.
Recorded on March 2012 by El Pricto at Discordian, Barcelona
Mixed by Jim Colominas. Mastered by Ralph Lopinski
Produced by Discordian - released 30 March 2012


4. A State of Disarray
from Live At Robadors 23 by The Man with a Hyena

Tom Chant: Reeds
Javier García: Bass
Dani Domínguez: Drums

Recorded live at Robadors 23, Barcelona on 2011
Sound correction and Mastering by Ralph Lopinski
Edited by El Pricto. Produced by Chant/Gares/Discordian - released 28 September 2012


5. Reptilian Mambo #4 & 7. Just Wanna Lick Thy Pesticide
from It's Peeling Time! by Reptilian Mambo

El Pricto: Synths, Alto Sax
Don Malfon: Baritone Sax
Vasco Trilla: Drums (L)
Javier Carmona: Drums (R)

Track 3 composed by El Pricto. Track 7 by Reptilian Mambo.
Arranged and recorded by El Pricto at Discordian Records, Barcelona
Mixed by Jim Colominas. Mastered by Ralph Lopinski
Produced by Discordian - released 14 October 2012


6. El Pistolero de la Metared
from Ciudadela 2323 by Liba Villlavecchia & Don Malfon

Liba Villavecchia: Soprano, Alto and Tenor Saxophones
Don Malfon: Alto and Baritone Saxophones

All tracks created by Liba Villavecchia and Don Malfon
Recorded by El Pricto at Discordian Records, Barcelona
Mixed by Jim Colominas. Mastered by Ralph Lopinski
Concept Villavecchia/Pricto/Malfon
Produced by Discordian - released 17 June 2012


8. A Result and a Prologue
from The Case Of Charles Dexter Ward by Lovecraft's Aunts

Luiz Espiga: Clarinet, Bass Clarinet
Pere Masafret: Trombone
Agustí Martínez: Alto Sax
Albert Cirera: Tenor Sax on 1, 2 and 4
Tom Chant: Tenor Sax on 3 and 5
Don Malfon: Baritone Sax
Miguel Serna: Double Bass
Vasco Trilla: Drums

Composed, recorded and conducted by El Pricto at Discordian Records, Barcelona
Mixed by Jim Colominas. Mastered by Ralph Lopinski- released 05 February 2012


9. Road Tales
from Somewhere Along The Line by Uncharted Territory

Paulina Owczarek: Baritone Sax
Wiktor Krzak: Bassoon
Tomek Choloniewski: Percussion

Recorded by El Pricto at Discordian Records, Barcelona
Mixed by Jim Colominas. Mastered by Ralph Lopinski
Concept by El Pricto and Ralph Lopinski - released 27 May 2012


10. Cetioscolopendra Aeliana
from Ourang Medan by Sea Monsters

Don Malfon: Baritone Saxophone
Pere Masafret: Trombone
Vasco Trilla: Drums

Conducted, recorded, mixed and mastered by El Pricto at Discordian Records, Barcelona.
Concept by Pricto/Malfon/Trilla - released 22 July 2011


11. The Death Of Mrs. D
from The Third Mind by The Third Mind

Don Malfon: Alto and Baritone Saxophone
Alvaro Rosso: Double Bass
Julian Bonequi: Drums and Insane Vocals
El Pricto: Conductor

Recorded, mixed and mastered by El Pricto at Discordian Records, Barcelona.
Concept by El Pricto, inspired on the book "The Third Mind" by William S. Burroughs and Brion Gysin. - released 15 July 2011


12. Esto ya no es una cafetería (y está lloviendo) Parte 1
from Sin Anestesia En Directo! by Sin Anestesia

Tom Chant: Soprano Sax (L)
Liba Villvecchia: Soprano Sax (R)
Agusti Martinez: Alto Sax (L)
El Pricto: Alto Sax (R)
Pep Pascual: Tenor Sax (L)
Miguel "Pintxo" Villar: Tenor Sax (R)
Lluis Valles: Baritone Sax (L)
Don Malfon: Baritone Sax (R)
Ferran Besalduch: Bass Sax (C)

Recorded live on October 27 of 2011, at the LEM Festival Barcelona, Spain
Composed, conducted, recorded and mixed by El Pricto
Mastered and Edited by Ralph Lopinski. Produced by Discordian - released 30 October 2011


13. Magick Mirror from The Map Is Not The Territory by MAGVM

All music performed and composed by Magvm (ObdO and Lopinski)
+ Drums: Vasco Trilla & Pope: Trumpet on Magick Mirror

Recorded by Lopinski and ObdO at Discordian Records
Mixed by Jim Colominas. Mastered by Ralph Lopinski
Produced by Lopinski/ObdO - released 13 March 2011


14. Effet #1
from Bruitage by Bruitage

Pablo Rega: Electric Guitar
Tom Chant: Tenor and soprano saxophone
Javier Carmona: Drums and percussion

Concept by Bruitage. Recorded at Discordian Records by L-Pricto.
Mixed and mastered by Jim Colominas - released 05 April 2011


from Protozoa by Orgonite

Tom Chant: Soprano and Tenor Saxophone
Don Malfon: Alto and Baritone Saxophone
Alvaro Rosso: Double Bass
Javier Carmona: Drums and Percussion

Composed and conducted by El Pricto.
Recorded, mixed and mastered by El Pricto, at the Hodge Podge, Barcelona - released 24 November 2011


16.Reptilian Mambo #1
from Reptilian Mambo by Reptilian Mambo

Don Malfon: Alto and Baritone Sax
El Pricto: Alto Sax, Bass Synthesizer and Conduction
Martin Del Litto: Synthesizer
Julian Bonequi: Drums (R) and voice
Avelino Saavedra: Drums (L)

Recorded, mixed and mastered by El Pricto at The Hodge Podge, Barcelona
Concept by Avelino Saavedra and El Pricto - released 06 September 2011


17. Animal Mineral
from Pistolaser by Ohlabaca

Martial Mehat - Guitar
Joni Garlic - Drums
Director Wilkins - Bass

Composed by Martial Mehat. Arranged by Ohlabaca.
Recorded and mixed by El Pricto at Discordian Records, Barcelona.
Mastered by Ralph Lopinski - released 13 April 2011


18. Low Suite: Això És Gravíssim!
from Això És Gravíssim! by bLow

Ferran Besalduch: Bass Saxophone
Joan Palacio: Contrabass Trombone
David Parras: Tuba

Recorded by El Pricto at The Hodge Podge, Barcelona - released 15 January 2012





2011-2012 Barcelona




Promotional compilation curated by Julian Bonequi.

Agustí Martínez, Quicu Samsó, Paulina Owczarek, El Pricto, Wiktor Krzak, Michal Dymny, Vasco Trilla, Tomek Choloniewski, Liba Villavecchia, Tom Chant, Pep Pascual, Miguel "Pintxo" Villar, Don Malfon, Luís Vallès, Ferrán Besalduch, Javier García, Dani Domínguez, Javier Carmona, Luiz Espiga, Albert Cirera, Pere Masafret, Miguel Serna, Alvaro Rosso, Julian Bonequi, Pope, Pablo Rega, Martin Del Litto, Avelino Saavedra, Martial Mehat, Joni Garlic, Director Wilkins, Joan Palacio, David Parras.
Sound Engineers: L-Pricto, Ralph Lopinski, Jim Colominas, and Guille Pérez.

Special thanks to El Pricto for his great enthusiasm pushing the scene in Barcelona as a producer, and to all the artists and good friends who believe in Discordian. Picture taken at Discordian "Community Riot" by César Merino [ C.A.T, Arco y Flecha, Barcelona 21.12.12 ]. Design by Aniana Heras.