I ERROR – RITUAL AND RANDOMIZER

Your new album is called Randomizer. How did this record come into being?

Randomizer was born from a place that is very familiar to me as a musician: daily practice. As a multi-instrumentalist with a classical background, especially as a violinist, I’m deeply used to the idea that technique only exists if it’s maintained every day. Practice is where listening sharpens, where the relationship with the instrument deepens, and where freedom slowly emerges.

In the universe of I ERROR, this practice extends naturally to Electronic music instruments. During these daily sessions, short ideas, unexpected sounds and small deviations appear without any clear intention of composing. They’re simply the result of exploration and of spending time with the instruments.I started keeping these fragments, building an archive that eventually became the raw material for Randomizer.

How does Randomizer relate to your background as a violinist and multi-instrumentalist?

My relationship with electronic instruments is very similar to the one I have with acoustic instruments. As a violinist, I learned early on that freedom in performance only comes after long periods of disciplined study. You practise to be able to react, improvise and listen in the moment.

I approach my Polyend instruments in exactly the same way. I study them. I spend time understanding their behaviour, their limits and their hidden possibilities. That work allows me to be much freer in live situations the machines stop feeling like “devices” and start behaving like instruments.

The title suggests chance and unpredictability. How do randomness and control coexist in this album?

What interests me is not randomness on its own, but how it can be shaped through practice. Many sounds on Randomizer emerge from accidental moments, generative processes or unexpected interactions with the machines. But those moments only become meaningful because I’m prepared to recognise them.

In that sense, chance is filtered through technique and listening. The album lives in that space where unpredictability meets method — where randomness becomes something you can play with, respond to and transform.

Polyend instruments seem central to that process. How do they fit into your daily practice?

Polyend instruments have become part of my daily musical routine in a very organic way. Tools like the Tracker+ and the Polyend Synth are already complete sonic universes on their own. They invite exploration, but they also reward deep study.

Because their workflow feels intuitive, I can focus less on technical obstacles and more on sound, gesture and structure. Over time, this creates a strong physical and musical connection that is very similar to what happens with an acoustic instrument.

You’ve also integrated the Polyend MESS into your setup. How does it expand your workflow?

The Polyend MESS opened up a completely new layer in my system. I use it connected via send/return on the mixing desk, which allows me to continue manipulating the sound after it has already been shaped by other instruments.

This means that the mixing desk itself becomes part of the instrument chain. Any sound that enters the mixer can be reprocessed, transformed and pushed further in real time. It keeps the signal alive and mutable, which is especially important  live performances. The sound never feels finished — it remains playable.

How does this approach translate into live performance?

I feel much more confident letting go in live situations. The technical work happens beforehand. On stage, I’m free to listen, react and take risks.

Polyend tools give me a very tactile and performative way of working with electronics. That physical relationship is essential for live performance. It allows the performance to stay open, flexible and responsive, rather than locked into pre-programmed structures.

What do you hope listeners take away from Randomizer?

I hope listeners feel close to the process — to the act of practising, searching and discovering sound. Randomizer reveals a part of musical life that is usually invisible: the daily work, the unfinished ideas, the moments where nothing is fully defined yet.

It’s an album where practice and creation merge. If it invites people to listen with curiosity and patience, then it reflects exactly the space it came from.

Any final words you’d like to share with Polyend and their community?

What I value especially is Polyend’s creative and innovative mindset. Their instruments consistently propose new ways of interacting with sound, encouraging exploration, risk and curiosity rather than fixed workflows. That way of thinking resonates deeply with my own approach to music-making.

A big part of what I do today, and of the music behind Randomizer, exists thanks to that ongoing relationship. I’m genuinely grateful for that journey.

What’s next?

I’ve received a commission from the Orquestra Sinfonietta de Braga to compose a new work for electronics and orchestra, titled Manifesto para o Bem Comum, which is scheduled to premiere at the end of September 2026. This project represents an exciting challenge as it brings together my background as a violinist.

The idea behind the work is to explore how electronic music and classical orchestral writing can coexist not as two separate universes, but as a single, coherent musical space where each world enhances the other.

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