{"id":200441,"date":"2026-02-17T15:22:07","date_gmt":"2026-02-17T21:22:07","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=200441"},"modified":"2026-02-17T15:59:02","modified_gmt":"2026-02-17T21:59:02","slug":"for-aleph","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/para-aleph\/","title":{"rendered":"Para Aleph"},"content":{"rendered":"

How did this song come about: with an image, a phrase, a melody, or something else?
<\/strong>I wrote this song when my dear friend Aleph Casta\u00f1eda died, one of the people for whom I play the double bass. His death was very unexpected and the first significant loss in my life. This was my way of understanding that moment. At that time, I was obsessed with astronomy, and its concepts were constantly on my mind. I sought it in music and vice versa: I consumed information and, at the same time, sought out music that would remind me sensorially of that immensity, that would provoke dreams about the night sky. This was an interest I also shared with Aleph, and when he died, I found myself, as on many nights, looking at the sky from the rooftops and wondering where he had gone. I had the distinct feeling that if Aleph spent his time thinking about the sky as I did, he undoubtedly had a presence in all the places that had populated his thoughts. This thought, close to that of the theory of relativity and the space-time<\/em> like a continuous fabric, led me to understand, for the first time in my body, the concept of eternity, because if time\u2014like places\u2014is traversable, it's impossible to say that something that once existed no longer exists. I wrote a text that I then set entirely to music to turn it into a song. It was the first time I composed something in that form, which has accompanied me for several years now and is governed primarily by a poetic and textural pattern. There are parts where the harmony is undefined and follows the paths of the melody, others where the melody is improvised in the words and a harmonic color, and still others that are completely open. These are structures that are there to freely represent and traverse the metaphor.<\/p>\n\n\n\n

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Who worked or collaborated on this song and how did they contribute to its creation?
<\/strong>I composed the song on the double bass and was fortunate enough to play it with several musicians before finding this version again, just with the double bass and a loop pedal, which became the essential and representative version for me. Later, when we worked on my album (which is about to be released) with Michael League, he added those wonderful Moog synthesizers, did the audio engineering, and suggested sound recording choices in the production that turned out to be incredibly moving successes.  <\/p>\n\n\n\n

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How long did it take to take its final form?<\/strong>
I wrote the song 11 years ago, when I was 19. It's the oldest song I've written that I still play. It was also the first song I arranged for that setup with double bass and loop pedal when I did my first solo gig, so it's very special to me; it was a turning point. I recorded it three times before without releasing it (thanks Johan, thanks Louis and Hayden), and it finally found its place last summer while recording at Michael's house.<\/p>\n\n\n\n

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Is there any direct reference or influence (another song, book, movie) that is present in this song?
<\/strong>Einstein's theory of relativity, indirectly. On the other hand, although it's not a film either, I owe the idea of \u200b\u200b'theater with the lights off' to my mother, whom I often accompanied backstage at dance productions. That moment in the darkened theaters for rehearsals and lighting tests has always seemed to me almost frighteningly mystical, a time when everything can\u2014and indeed does\u2014become anything. <\/p>\n\n\n\n

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