MAIDOUAN, the single´s music video. From the album ANTIROMA. Osa Mayor Studios, Gothenburg. (Dj Kushe on Spotify)

The decision to make a release, in its traditional format, but in which I included the problematization, of the predetermined roles, of the schedule, of the kind of place and public, is inspired by my aesthetic searching , the authenticity in the public space.

Electronic music in a minimalist style, with a defined character of nightclubs, of dances inspired by the roots elektronik as I wanted to name it, eclectic, samplers in new sequences, which I decided to decorate with a visual narrative in which I mixed material from open platforms via google with my photos and those from professionals who have worked on my performative works. The images were also intertwined in a random story providing a parallel dramaturgy that strengthened the metaphorical discourse of my compositions. I decided that it was precisely the photographs that would operate the political discourse, the ideology from which I activate my performative work. The name of the album is anchored in my aesthetic and political work.
My motivation to carry out interventions in public spaces, something that is framed within the site specificity, and what is closely related to the political. The name of the place "Jesus Cafe Bar" (Café Jesusbaren) gave me the idea of Rome, the empire responsible for his death and against the current proto-fascist government in Italy and the anti party law, and through this also against the current government in Sweden, which was one of the first to officially salute the democratic spawn in Italy.
Present in the place was the mother of my youngest son, she was curious about my musical work, and he with his two years old interested in absolutely everything.

When everything was ready to start, the little one began to cry, which undoubtedly made the intervention completely complex. Observing that his mother couldn't contain him either, I was forced to change my role from DJ to father and in a purely intuitive act I decided to add him to my experience of driving and controlling the Release, and at the same time teaching him when and how we would mix. Assuming that the risks were too many, (a digital mixer on the screen of an IPad, an activity that I had never done before with him, the first public presentation of my music and my Alter Ego as a DJ, and a musical composition not precisely created for infants, at a time not exactly a nightclub) I just trusted.

He showed his best disposition, his respect for what we were doing and he listened to my instructions very carefully and carried out the assigned tasks. Everything was carried out in a harmonious and creative environment. I had to accept that I should dispense with the playful aspect of effects, synchronicity and aural juxtapositions. The musical sequence became simpler, also cleaner and some children even felt motivated enough and began to dance to the sound of my Roots Elektronik.

At the end, the clientele of the cafe (now turned into the public) applauded and I received warm comments regarding my music, the way in which the problem of roles was resolved, even invitations to the cities of Hamburg and Berlin, and their alternative scenes of electronic music. The album was born and with it the possibility of new places, although none will be the one of origin, I hope to keep the creativity in an authentic flow.

Thanks so much to Victor Eldar Inti García-Myrberg and Alejandro who permitted my intervention, and of course Ronnie Fuentes for

(Dj Kushe on Spotify)

A site specificity installation and intervention at Poseidon sculpture, Götaplatsen. Gothenburg. 2018

Canto al Río, acontecer, site specific intervention; Puente Recoleta, V International Biennial Deformes Santiago Chile 2014