About EVOL

Since the late nineties, Roc Jiménez de Cisneros and his collaborators have been producing what they call "computer music for hooligans", inspired by geometry, metaphysics, noise, cosmology and rave culture. A vortex of generative basslines, air horns and fuzzy arpeggios, their music displays a radical and playful approach to algorithmic composition, with works available on Entr'acte, Mego, Presto!?, Diskono, Scarcelight, fals.ch and their very own ALKU.

In 2003 the group started an ongoing series of electroacoustic pieces entitled Punani, built around the implementation of generative techniques, cosmology and psychedelia in what Kristian Vester defines as Radical Computer Music.

Occasional EVOL members since 1996 have included Stephen Sharp, Rubén Patiño, Miguel Ferrer, Jakob Draminsky Højmark, Joe Gilmore, Anna María Ramos, and Andy Davies. The name of the project comes from Sambucus Ebulus (in Catalan, évol), a herbaceous species of elder with a characteristic foetid smell. It is also a fully Lagrangian self-adaptive parallel Fortran95 code by the Padova N-body code for cosmological simulations of galaxy formation and evolution, specifically designed for simulations of cosmological structure formation on cluster, galactic and sub-galactic scales.

Preliminary work for 'Hands in the air, reach for the laser' (Diapason Gallery, NY, 2010)

Testing a new horn. Berlin, 2009

Horn performance. Premiere of 'Ten canisters...' (La Felpa, Barcelona, 2010)

Sheffield event invite, December 2008

Chromatologies brochure, November 2010

Scores for the 'Dual Punani' performance series for computer and gas horns, 2008

"This is not computer music. It's free rave" (DJ Zero, Barcelona techno legend).
"It's like taking the most orgasmic moments of dance music and stringing them together, plunderphonics style – a wonder no-one thought of it before." (Derek Walmsley, The Wire).
"This is some seriously intense electronic music. It's like a swarm of pissed digital bees are flying around the room." (Norman Records)
"...a razor sharp atonalism that follows its own sense of abandoned humor" (Igloo Mag)
"...a brief record that catches the listener off guard with its pseudo-musical, unpredictable nature." (Michael Tau, Vital Weekly)
"reinforced concrète!" (Joe Gerhardt, Semiconductor Films)
"...sounds like R2D2 being raped" (Graham Sharp)
"Simply too much to be true" (Vital Weekly)
"Un universo a metà tra rilettura ironica e applicazione da studiosi matematici, di dificile penetrazione e altrettanto ardua commerciabilità." (Blow Up)
"Booty, sexy music" (Pedro Soler, curator)
"Generative violence" (RDL Magazine)
"If you've ever wondered what the Carl Stalling-indebted score to a circa-2109 Pixar plotless cartoon about robotic, hyper house-mice might sound like..." (Grooves)
"Punani Rubberist [...] sounds like Parmeggiani doing a soundtrack to Backdoor Sluts 9." (Han Van Den Hoof)