The fourth volume of the Organic Music Tapes series comes to end this cycle that has significantly transformed the music of Tiago Sousa. Fluid state compositions that form nebulae of inaccurate contours for piano, organ and taped loops, from techniques inaugurated by American minimalism, namely composers such as Steve Reich, Terry Riley or Charlemagne Palestine.
If throughout this series we have witnessed a more preponderant role attributed to the electric organ in contrast to taped loops, this is the moment when this technique is extended to piano compositions. Thus new opportunities develop for repetition and variation of small motives induce subtle perceptions and psychoacoustic effects. This last edition corresponds to the maturation of the intentions of the Portuguese composer around the idea of organic music. Also in music, the organic world is quite different from that that is built from syntax and grammar rules. Rather refers to the type of interdependent relationships and patients and repetitive, at the same time, spontaneous and unpredictable processes, which shape rivers and mountains, wood veins, fiber in the muscles or marks on a jade stone.
