I make noise while people sleep
Under the name Pedro Trotz, my work is defined by a vehement technological exploration and a stubborn resistance to established conventions. Inspired by hacker philosophy, I understand learning as an inexhaustible source of inspiration and fun, which drives us to reflect on the multiple possibilities available to us.
My work is characterized by its darkness, repetition, and rhythm, and manifests in audiovisual performances, interactive multimedia installations, as well as in sounds and graphic creation on fixed media. I use code and hardware as tools for a constant and passionate research into the possibilities of electronics and how it can transform our perception and our experiences.
My creative process is driven by controlled improvisation and constant mutation. From rebellion—or perhaps spite—I explore styles and techniques nourished by hybridization, contradiction, and crossbreeding, shunning conformity and formalism. I seek singularity, a dialogue between chaos and order, a dance between the predictable and the surprising, always in search of that ephemeral moment where something genuinely new and exciting emerges.
Sounds
These are my sounds
I started in the mid-1980s by recording cassette collections of electronic sounds I created with a Yamaha CS30. This analog synthesizer, lacking presets or sequencing capabilities, compelled me to learn sound programming and explore new sonic frontiers, as its melodic potential was quite limited. One day, while listening to the radio, I discovered a program on RNE called "El Club del Ruido." It revealed that others were doing exactly what I was, only they called it music and released it on DIY labels.
Inspired, I borrowed a 4-track Tascam recorder and some guitar effects and began creating my first formal pieces in a style somewhere between cut-up and industrial. Over time, I started incorporating more rhythmic and melodic elements into my music as I learned how to integrate them. This marked the beginning of Serie Alfabética, a series of works that continues to this day, where I explore more formal aspects of sound exploration, striving to escape any literary connotations.
Later, in the 1990s, I dabbled in hip-hop and then techno, genres in which I felt quite comfortable, especially in the mid-2000s when the prevailing styles closely matched my personal preferences.
In the 2020s, I returned to a more experimental approach, finally incorporating coding, generative video, and a much more focused style. Currently, my sounds are perhaps more intimate and less adversarial, but equally exploratory.
(If you can't see the player entirely, you may try rotating your phone...)
Bandcamp
Serie Alfabética, Vol. A (1986)
Bandcamp
Serie Alfabética, Vol. B (1987)
Bandcamp
Serie Alfabética, Vol. C (1987)
Bandcamp
Serie Alfabética, Vol. D (1987)
Bandcamp
Serie Alfabética, Vol. E (2004)
Bandcamp
Serie Alfabética, Vol. F (2004)
Bandcamp
Serie Alfabética, Vol. G (2010)
Interactive
Vol. H (2015) is an interactive project you can visit at the interactives section
Serie Alfabética, Vol. H (2015)
Bandcamp
Aber es sieht von außen seltam aus... (2018)
Bandcamp
Serie Alfabética, Vol. I (2024)
Bandcamp
Serie Alfabética, Vol. J (2024)
Apple Music
Proyecto Humanoide (2007)
Apple Music
Recopilatori (1986-1998)
Apple Music
Psicopomp (2023)
Apple Music
Mining for Profit (2024)
Images
Image 001
Image 002
Image 003
Image 004
Image 005
Image 006
Image 007
Image 008
Image 009
Image 010
Texts
Tránsito — notas de programa
Tránsito I — Desistimiento
Planteamiento inicial en el que, mediante la cesión de agencia del autor a la máquina, se pone a prueba la viabilidad del desistimiento de la voluntad autoral en favor del sintetizador caótico. Desistir, aquí, no significa desaparecer como intérprete-compositor: significa decidir cuándo actuar y cuándo dejar que el instrumento continúe por su cuenta.
Tránsito II — Cauce
En este segundo movimiento, la exploración se desplaza hacia lo orgánico, donde la composición se deja arrastrar por corrientes de datos con cualidades aparentemente biológicas. Cauce sitúa la escucha entre lo artificial y lo orgánico, a través de un dispositivo electrónico que opera con la imprevisibilidad de un torrente o un río.
Tránsito III — Memoria
En la tercera parte de la serie, una textura en ebullición resuena con armónicos que evocan la resonancia difusa de un coro etéreo. Haciendo uso de una red de realimentación no-lineal, la obra evoluciona hasta disolverse en vapor turbulento, sugiriendo un flujo bidireccional entre lo onírico y el recuerdo.
Tránsito IV — Pulsión
En la cuarta etapa de la serie Tránsito, el flujo de voltajes caóticos confronta la segmentación rítmica y el uso de formantes. Esta pieza opera en la tensión entre el reloj escalonado del rungler y la cavidad filtrada, generando una cualidad vocal que nunca llega a convertirse en fonética.
Tránsito V — Éxodo
En este estadio final, el lazo de retroalimentación alcanza su punto de ruptura y una cesión de agencia más definitiva. Éxodo lleva al límite la separación absoluta entre el operador y el sistema autónomo, donde la electrónica abandona cualquier posible introspección para proyectarse hacia el exterior en un colapso expansivo.
Notas técnicas
El control temporal y tímbrico de la serie prescinde de partituras o secuencias preprogramadas; emerge del lazo de realimentación cruzada entre osciladores analógicos y un circuito Rungler. El material acústico procede exclusivamente de sistemas modulares Hordijk, una Blippoo Box y una emulación digital del circuito realizada por el autor.
La difusión multicanal emplea un enrutamiento directo de las señales a los altavoces, sin panoramización entre ellos. Cada canal conserva así una localización física reconocible en la sala. La disposición de los altavoces forma parte de la composición y hace más perceptibles las relaciones entre las distintas señales del sistema
Currículum del autor
Pedro Trotz (Pere Amengual) es artista-investigador y doctorando especializado en el legado técnico-filosófico de Rob Hordijk. Su trayectoria, que cumple ahora 40 años desde la publicación de su primer trabajo en casete (Inteligencia Artificial - Serie Alfabética, Vol. A), refleja una evolución continuada desde las grabaciones industriales y el cut-up hacia una práctica centrada en la algoritmia generativa y la síntesis sonovisual mediante sistemas dinámicos. Graduado en Multimedia (Premio Extraordinario) con un Máster en Composición Electroacústica y Nuevos Medios por el Centro Superior Katarina Gurska, investiga la cesión agencial y las temporalidades no-humanas a través de lógicas de retroalimentación y procesos caóticos. Ha presentado su trabajo en festivales como Ping, Centremàtic, ME_MMIX y Function(), y en 2024 expuso sus Estudios sobre lazo de realimentación no-lineal. En 2026 ha estrenado las piezas sonoras en formato fijo de la serie Tránsito e impartido una conferencia sobre sistemas caóticos en las II Jornadas sobre Arte Sonoro “Rebecca Collins” (CSIC), además de divulgar su investigación sobre la filosofía de diseño y la memoria técnica del Rungler en los congresos internacionales NIME (Londres) y SMPR (Huddersfield). Actualmente colabora con el físico Julio Gómez Herrero (catedrático de Física de la Materia Condensada en la UAM y referente en microscopía de fuerzas atómicas y nanotecnología) en el proyecto 1,1 Grados de Coherencia, una obra sonovisual desarrollada en el marco del programa Nanoinspiración (MUNCYT/FECYT), iniciativa que reúne a investigadores en imagen microscópica con artistas. Su labor consolida un perfil que concibe la escucha responsiva como método de indagación y el uso híbrido de hardware y código como lenguaje artístico.
Los herederos del vacío y otros relatos (Sci-Fi pulp short stories)
These are some pulp sci-fi short stories I wrote in January 2025.
Captivated by the nascent potential of LLMs, I couldn't resist revisiting the clichéd tales I enjoyed as a child. The accompanying images were also AI-generated. Though presented here in Spanish, I encourage you to employ a translation tool to experience them in your own language. I hope you enjoy reading them as much as I enjoyed crafting them.
Download "Los herederos del vacío y otros relatos" (PDF)Interactives
Landing Page 2024
View Project 1Mediterrani (Work in Progress)
View Project 2A little noise in the browser
View Project 31000 green cubes (silent)
View Project 4Experiencia A-rítmica
View Project 5CV & Bio
Pere Amengual Gomila (performing and publishing under the pseudonym Pedro Trotz) is a sound and electronic artist, creative coder, and doctoral researcher. Active since the mid-1980s, he is considered one of the pioneers of experimental electronic and dance music in the Balearic Islands. His early work emerged from industrial cassette culture, noise, and tape cut-up techniques, later transitioning in the 1990s into live analog techno (Digital Terror) and club culture initiatives.
His academic background includes a Bachelor's Degree in Multimedia (awarded with Extraordinary Prize honors from Universitat Oberta de Catalunya), a Diploma in Audio Systems and Sound Reinforcement from Universitat de València, and a Master’s Degree in Electroacoustic Composition and New Media from Centre Superior Katarina Gurska. Currently, he is a PhD candidate in the "Música y su Ciencia y Tecnología" program at Universidad Politécnica de Madrid (UPM) and the Real Conservatorio Superior de Música de Madrid (RCSMM), conducting practice-led research focused on non-linear chaotic topologies, emergent instrument design, and the technical and philosophical legacy of synthesizer designer Rob Hordijk (notably the Rungler and Blippoo Box architectures).
His current artistic practice explores generative creative coding, sound design with modular synthesizers, spatial audio composition, and autopoietic sonovisual systems. He has presented peer-reviewed research and lecture-demos at international forums including the New Interfaces for Musical Expression (NIME 2026, London), the Society for Music Production Research (SMPR 2026, Huddersfield), and CSIC (Madrid). His sound installations, live performances, and multichannel fixed media works have been featured at festivals and institutions such as Cineteca de Matadero (Madrid), Fundació ACA (Búger), ME_MMIX, S0N1V1S10, Function(), and the retrospective exhibition Ressò (Casal Solleric).
Download Full CV (PDF)Memories
A collection of personal memories, behind-the-scenes, etc.
Memory 001 — 2024
Club Miseria: Context, Archive, and DJ Mix for Isabel Fullana
This mix was conceived as a sonic dialogue with the visual work of artist Isabel Fullana. Rather than adhering to the standard conventions of a functional club set, Club Miseria operates as a map of cross-references, electronic archaeology, and aesthetic affinities accumulated over the years.
The conceptual framework connects directly with the origins of my sonic work in Mallorca. As early as 1986, I began releasing cassette recordings focused on industrial experimentation, noise, and cut-up techniques. In 1992, alongside Resonic, we founded Digital Terror, a project oriented toward live analog performance that staged only two appearances in Palma: one sharing the bill with Esplendor Geométrico—organized by the fanzine La Parturienta—and another on January 2, 1993, at Sala Taboo (Distrito), run by designer Miguel Adrover and Cati Adrover. That night brought together the city's dissident and LGBTQ+ underground in a singular intersection of visual aesthetics, fashion, and raw electronic music.
Over time, this early path evolved organically toward sound art research, sound design with modular synthesizers, spatial composition, and the study of non-linear chaotic circuits. Nevertheless, the physical memory of the dancefloor and the raw tactility of electronic circuitry remain an active methodological foundation.
Club Miseria articulates these tensions: it brings together my own productions (Ahora lo entiendo, Dark Party, Dump Request) and revives the original recording of Classsic (Digital Terror) alongside key reference points from different eras—from The Prodigy, The Chemical Brothers, Miss Kittin & The Hacker, and Aphex Twin to works by Boy Harsher, Boris Brejcha, and Tropic of Cancer. An archival exercise and a deliberate collision between machine distortion, the club floor, and the exhibition space.
Tracklist
- Boris Brejcha – I am a Machine
- Boy Harsher – Pain
- Pedro Trotz – Ahora lo entiendo
- The Chemical Brothers – Under the Influence
- The Prodigy – Firestarter
- The Prodigy – No good
- Pedro Trotz – Dark Party
- Zombie Nation – KernKraft 400
- Miss Kittin and The Hacker – 1982 (Vitalic Remix)
- TIGA – Sunglasses at Night
- Dusty Kid and Boris Brejcha – Psika (LSD)
- Pedro Trotz – Dump Request
- Black Light Smoke – Take me Out
- Digital Terror – Classsic
- Tropic of Cancer – Be Brave
- Aphex Twin – Selected SoundCloud Works
Memory 001: Club Miseria (Mixset)
Memory 002 — 2007
Ubik Studios & Early Techno Years (Photos by Anastasia Sergeyevna)
These portraits were taken in 2007 by photographer Anastasia Sergeyevna, capturing the period when I formally began my professional trajectory in techno.
At the time, the ground floor and basement of my studio (Ubik) were undergoing heavy renovation. The unfinished background—raw, painted concrete and construction textures—served as an impromptu setting, unintentionally echoing the industrial, austere aesthetic of the machine-driven music being produced upstairs.
Memory 002: Ubik Studios (2007) · Photo: Anastasia Sergeyevna
Memory 003 — 2007
Ubik Control Room: Acoustic Diffusion and Robby the Robot
Also taken by Anastasia Sergeyevna during the same 2007 session, this photograph captures the interior of the Ubik control room.
Visible in the background are the custom DIY acoustic diffusers built specifically to calibrate the listening environment and control early reflections in the workspace. In the foreground stands a figure of Robby the Robot (from the 1956 sci-fi landmark Forbidden Planet)—a silent studio mascot and an enduring nod to retro-futuristic imagination and early electronic sound history.
Memory 003: Ubik Control Room (2007) · Photo: Anastasia Sergeyevna
Memory 004 — 2018
Live at Ciclo EXP, Casa Planas (2018)
Live performance during Ciclo EXP (2018) at the cultural center Casa Planas in Palma—an event series dedicated to experimental electronic music and risk-taking sound exploration.
The setup centers on a Haken Continuum Fingerboard for continuous, multidimensional gestural control, paired alongside a Eurorack modular synthesizer housed in a custom Grau enclosure. The performance explored the tactile friction between expressive acoustic-like physical articulation and the voltage control topologies of the modular system.
Memory 004: Ciclo EXP, Casa Planas (2018)
Memory 005 — 2012
Troubleshooting the Yamaha CS-30 with Rob Hordijk (EEME 2012)
During the European Electro-Music Event (EEME 2012) hosted in Mallorca, synthesizer designer Rob Hordijk and I went through the service schematics of my 1970s Yamaha CS-30—the formative instrument behind my earliest mid-1980s recordings.
The analog synth had developed a circuit fault, and Rob confirmed my initial diagnosis on the bench: one of the proprietary custom voltage-controlled filter (VCF) ICs had failed and required replacement to restore the dual-filter topology to full operation. Beyond the technical repair, it remains a meaningful document of shared bench time, deep circuit analysis, and generous mentorship.
Memory 005: Bench work with Rob Hordijk, EEME 2012 (Mallorca)