LOSPIESTORCIDOS

lospiestorcidos at Hueco Studio: electronics, movement and freedom

Some projects are born from an aesthetic search. Others come from a deeper need: finding your own way of being in the world.

lospiestorcidos, the project of Jorge, belongs to that second group. His visit to Hueco Studio left us with an intimate, physical and deeply personal electronic session, where rhythms, textures and machines became a way of speaking about freedom, movement and difference.

After the live performance, we sat down to talk about his beginnings, his relationship with electronic music, functional diversity, sequencers, play as a creative method and his very personal way of turning everyday sounds into landscapes full of life.

A name as a signature

The first question was inevitable: why lospiestorcidos?

Jorge’s first answer is direct:

“The short answer is because I have twisted feet.”

But very quickly, a broader meaning appears. The name is not only a physical description, but a way of owning something personal and turning it into artistic identity.

“It is a way of signing.”

In his case, music is not only about aesthetics. There is also a reivindicative dimension, a way of speaking about diversity through sound, through the body and through the tools each person finds in order to express themselves.

Finding a way to make music

Jorge started making music at a very young age. There were instruments in his family, people playing music, pianos, guitars. Like many teenage stories, his also began with a bass, a brother on drums and a rock band.

But an important tension soon appeared: his musical intention went further than what his mobility allowed with traditional instruments.

“My intention went much further than what the physical part allowed me.”

For a long time, he thought that making music necessarily meant being an instrumentalist. Mastering an instrument with your hands, with precision, with a specific technique. But electronic music opened up another possibility.

Sequencers, machines and gear allowed him to find a different path. Not a lesser path, nor an easier one, but one that felt more his own.

“Discovering that there are machines that allow you to sequence and express yourself musically without needing such precise mobility.”

That is one of the keys to lospiestorcidos: electronics not as a substitute, but as a space of freedom.

Difference as personality

One of the most beautiful moments in the interview comes when Jorge speaks about his mobility not only as a limitation, but also as part of the personality of his music.

“I am increasingly clear that precisely my different mobility gives personality to what I do.”

That line changes the whole perspective. It is not about hiding difference or compensating for it, but about turning it around. Understanding that the way someone relates to machines, controls, timing and movement also leaves a mark on the sound.

In lospiestorcidos, electronic music does not erase the body. On the contrary: it makes it present in another way.

Sculpting sound

The interview also leaves a beautiful anecdote about the moment when Jorge felt that something was starting to truly sound like him.

One day, in a family house, he recorded the sound of his nephew’s toy with his phone. A small toy that moved and made a beeping sound. Days later, back in his studio, he started working with that sample: reverbs, layers, colours, transformation.

That sound ended up becoming the birds in “Birds”, one of the tracks from his first album.

“That was when I thought: this has much more to do with sculpture or painting than with a more narrative conception of music.”

That idea defines his way of producing very well. lospiestorcidos does not seem to build songs in a linear way, but rather works with materials: sounds, textures, gestures, movements. Like someone shaping a piece, mixing colours or discovering a form inside something small.

Playing until a song appears

Although Jorge describes himself as a methodical and reflective person in life, in the studio he looks for the opposite.

He wants to play.

“I like to think that I go into the studio and start playing, like when we were children playing with building blocks.”

There is not always a clear goal. There is not always a song waiting. Sometimes there is only an idea, a rhythm, a sequence, a texture. In fact, he explains that many of his projects begin with the title “Playing 1”, “Playing 2”, “Playing 3”.

Some of them go nowhere. Others become tracks.

That way of working has something very healthy about it: allowing music to appear without forcing it too much. Leaving space for accidents, mistakes and discoveries.

Machines to stop the mind from taking over

For his Hueco Studio session, lospiestorcidos arrived with two Elektron machines: Digitone and Digitakt, as well as a MIDI controller. In his studio, he also uses machines such as the Elektron Analog Rytm and the Sequential Prophet-6, a synthesizer he describes almost as an essential tool.

“Since I got the Prophet-6, it has become like my Fender Telecaster.”

He likes it because it allows him to find things quickly. And in his process, that is very important.

“It allows me to find things very quickly, without giving my head time to interfere.”

There is something very interesting in that idea. In a kind of music so often associated with machines, programming and precision, Jorge is searching for the opposite: flow, intuition, risk, speed before thought can control everything.

The live show as ceremony

For lospiestorcidos, playing electronic music live raises an important question: how do you make it feel like something real is happening?

Jorge puts it beautifully:

“I love music, and concerts feel like ceremonies to me.”

In his case, the live set is not simply about launching finished tracks. He uses audio channels that he modifies with effects, sequences, layers and machines that allow him to intervene in the music in real time.

The Elektron machines, with their polyrhythmic possibilities, give him room to play during the performance. That involves risk, but it also opens the door to unique moments.

“It allows me to play live, with the risk that comes with it, but also with the spontaneity that beautiful moments can appear.”

That is why his live shows are never exactly the same. He may change the setup, bring a new synth, prepare different sequences or let the pieces breathe differently depending on the day.

Movement as a concept

One of the strongest ideas in the interview appears when talking about movement.

The music of lospiestorcidos conveys a very physical sensation: rhythms that shift, layers that cross, patterns that seem to be constantly moving. And that connects directly with his own relationship with the body.

“My limitation of movement is precisely what makes me move more.”

Jorge explains that he is working on new tracks around the concept of movement. One of his new production methods consists of recording himself for ten minutes while controlling a synthesizer, letting those gestures remain inside the music.

Instead of programming perfect automations, he prefers to capture real movement.

“I feel that it gives identity to the music.”

And that is perhaps one of the most important ideas behind lospiestorcidos: movement is not only in the rhythm. It is also in the way of playing, sequencing, recording, making mistakes and leaving a trace.

Music to feel good

At the end of the interview, Jorge talks about what he would like people to take home after listening to him.

The answer is simple and beautiful: to enjoy the music.

“It feels like a fantasy that something that makes me so happy can also make other people feel good.”

That line says a lot about what happened during the session. An electronic live set, yes, but also a space of calm, attention and listening. Music born from a very personal relationship with machines, the body and sound, but shared in an open and generous way.

lospiestorcidos came to Hueco Studio with a proposal full of movement, texture and sensitivity. A conversation about electronic music, functional diversity, play, sequencers and freedom. And a session that showed that sometimes finding your own tool also means finding a new way to move.