Wormhole by Vasco Completo

Personal and transmissible. There’s nothing in Vasco Completo that isn’t the intention of expressing himself in the closest way possible to what he really feels. For some artists, that’s a mission for a lifetime; in Vasco’s case, that’s the only way he has to make music: his vision is part of an ultra-personal angle, exclusively his own, where each element connects with each other to create an uncopyable fingerprint.

Wormhole, his debut album, is the contemplation of that complex emotional architecture that makes him the person and the musician he is. This is electronic music in a layered web of synthesizers, guitars, drums and vocal samples that never overcrowd the record in its whole; it’s more about involving and the harmony within everything. And for that reason, nothing seems to be too much when chaos gets on the foreground of the music. “Everything in its right place”, as Thom Yorke would put it.

The sequencing of tracks enlaces the notions of space [“Purple Garden”], of time, [“Forever”, “Déjà-Vu (Interlude)” and “35mm”], of space-time [“Wormhole”] and of spirit [“Lullaby for the Inebriate” and “Trauma”], playing with the very idea of what should be where. Should we listen to everything in one sit? Is there a different sequencing? Or isn’t there any order at all? Does it only make sense on board of a spaceship? Questions that surely will bring even more questions. We’ll leave the answers to science; this is poetry.

For big emotions, a gigantic concept and, by far, merely speculative (unlike the emotional weight of these seven tracks). There weren’t any shortcuts in the path for Vasco getting here, and there won’t be any shortcuts listening to Wormhole: everything inside it matters; and it’s all from the touching instrumental matter that comes from his skin. In this or any other dimension.

I'm twenty-eight
I make (mostly electronic) music to express what I feel from life.
I want people to feel something from what I do, and not act passively towards it.

Monster Jinx.

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