I went to Art College and became fascinated by the idea of what music could be. I began experimenting with tape machines and found sounds. This experimentation was put on hold for a few years; I got caught up in the whirlwind of Post-Punk underground music, playing trendy and sometimes bigger venues supporting bands like The Cure.

I never forgot my ‘roots’ in experimentation and in 1989 EETapes released ‘Extraction’, which I still feel is ‘This Window’s’ finest achievement.

Electronic music can make the abstract real…. José Mataloni – Electroser is well worth listening to. This music shows what can be and what being creative is all about – it is all about thinking.

The text below is the content of three emails I received from José Mataloni

EMAIL ONE: when I lived in Germany, this was from 2000 to 2004, I made several sound works for Dradio Berlin, among others. They call this art radio or sound art. It’s like a child, or rather, a grandson of Radio Theater. Only much more free, in fact, works are don’t usually have actors or characters. The sound is the star, and is telling stories. This is a very rough summary of the many variations that exist in Germany. They were works by 50 minutes, very difficult to organize. In the talks I had with the producer, Naleppa Goetz, came the idea of calling what I was doing magic realism of sound. This was mainly because I mixed different nature sounds, environmental sounds, electronics, music, documentaries … in a single reality. Similarly, the literary genre is pursuing a multi-dimensional reality where it’s possible that the author can blend the fantastic and the real. Then I was stuck in this genre, in early 2007 did the last work for radio, until now. Then I began to feel that I repeated, and all I did, not widespread, I don’t like, really. This year, I started taking other decisions, at all levels. I began to discover new techniques to master the sound, to take positions closer to the listener, to take important decisions at an artistic level. Somehow also, I returned to my sources, it was the electronic sound…

EMAIL TWO: Also returned to mingle with jazz, fusion, electronic music, classical music, with pop, rock, folk, with all musical experiences. And all that is meeting in electroacoustic music. The name comes from the 50’s or 60’s, possibly from the sound experiments of Stockhausen, German composer, one of the greats. I say today, Electroacoustic Poetry. This is the mix refers to universal situations, as suggested by the sounds. For example, in the work I’m spreading the tightrope in the abyss, stability is present, like a challenge to achieve. Also, considering that the ear has the ability to maintain balance in the body (and mind), I wanted to see what would happen if organized sound stimuli, so do the listeners feel, which is on a tightrope. It is actually a return to clasisismo of form, where the balance is most important. Only here, consider noise as part of the whole, and space in three dimensions. Among all this radio experience, I left many things. The drama, the composition of sounds in three dimensions, the concern for form, close contact with the listener. However, I feel that this was an oasis in a desert of possibilities. I had the pleasure of living than they did, and what I did was, and is very complex. Now it’s like to make contact with reality, and dare to be oneself, in spite of everything against an entire scenario. I suppose that all independent artists feel the same, I’m not exclusive in that. All this might seem highly consistent with the academic; however, they do not understand this shift. I believe in reaching people, but at first, sounds like something impossible. However, I think the industry hat underestimated the audience, and they have been “educated” in very basic musical values. But I believe that the power is in the people, they can much more…

EMAIL THREE: I say that my music is to hear and see with the eyes closed. To see the volume, colors, shapes, movements of sounds. To create or allow to reveal new images in the imagination. To my surprise, despite the many constraints of the music industry, the listener is open to the dimensions of my music, only with this idea, “close your eyes and see the sounds”. I think part of it, is for encouraging me to show what many composers does in silence, perhaps much better than me, because they assume that people will not understand this aesthetics. Anyway, without thereby lowering the code, if I just concentrated on what is most important, really communicate aesthetic goals, to shorten the time of the speech. I’m more consistent, and finally, enjoying most of the sound, without ties or conditions of any kind.