L’album Interiorità di Rubens De rosas, esprime in modo esteso la visione dell’ hopnotika (crossover hip hop – psy trance).
Il disco è un itinerario di tecniche di produzione e mixaggio connotato dai 2 generi primari, escogitando uno sviluppo in un clima psicologico fluttuante, alquanto pischelico, con l’intento di essere mentalmente persuasivo verso l’individuo che lo ascolta,
pur mantenendo una colorazione uditiva del tutto personale,individuale.

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Percussioni e chiavi di fa è un’ ampia combinazione di sonorità psichedeliche, che vanno ad incorporare una ritmica del jungle o drum and bass, dando consistenza a un ostinato percorso di dinamica sonora e “dissennatezza” ritmica.

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sereNo è un disco dentro il perimetro di 90 bpm.Ritmica Boom Bap e sonorità psichedeliche, si uniscono in un viaggio di 20 trance.

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Goarap o psyrap? è un album che giunge al connubio di due generi musicali assai diversi,come l’hip hop e la Goa trance o Psy trance; ma che condividono una matrice storica comune. La fusione di questi due stili crea un ambiente unico e originale,con venature psichedeliche e un approccio melodico virtuoso. Per descrivere la ritmica si può dire in gergo che è a cassa dritta,con un BPM veloce. L’ utilizzo del rap rende riflessiva l’impaginazione testuale,mentre il tessuto della Goa o Psy trance,consente una struttura dei pezzi più articolata, più variegata. Pur conoscendo i miei limiti canori e da MC  vi propongo questo progetto che trova il suo punto di forza nell’ elaborata produzione musicale. Ho sempre avuto il sogno di veder nascere questo genere musicale, che potremo denominare Goarap – Psyrap. L’auspicio è che qualcun altro voglia mettersi alla prova e sviluppi in modo personale,che voglio condividere con voi. Chissà…

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The album in question is the first of 3 albums released together on 10/20/2023. The CD was processed with a mixer, sampler (MPC500), software for music production and volcal bass. The samples used are of a different nature in each individual track and fade from chill to hard in a chill-hop perspective, which transforms into Big beat or vice versa, in constant rhythmic and sonic evolution, with the succession of diversified samples during listening.

The bpm used for each individual track varies from 90 bpm to a maximum of 110.

* Track 100 pt1  is made up of 100 bars counting from 0 like a sequencer.

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This album was created with the help of sequencers, mixers, samplers and music production software.

The samples used are taken from different sound environments. Some sounds are found in the abyssopelagic zone, while others are heard on land.
The fusion of antithetical samples ranging from psychedelic to electronic, entering into a
a somewhat sci-fi perspective that blends into a jungle and drum and bass scenario, thanks to the very articulated and complex drums.
The structure of the tracks varies from a minimum of 120 bpm to a maximum peak of 180 bpm.

* The 100 pt2 track  is made up of 100 bars counting from 0 like a sequencer.

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This album is characterized by a mix of sounds with a bold and psychedelic timbre that oscillates "timingly" around 140-180 bpm.
The fusion of elastic and dynamic sounds and rhythms creates a constant flow of thought in the listener;
largely conditioned also by the fact that a greater percentage of the sounds used to compose the musical sequence are designed and studied to affect the nervous system while listening.
The CD takes on features that vary from psy-trance to tekno, passing from Goa to psy-ambient in rapid and evolutionary times, maintaining, however, a purely hip hop sound soul in the usual stylistic code that most belongs to me. This psy trance and hip crossover hop is defined as HOPNOTIKA

* The 100 pt3 track  is made up of 100 bars counting from 0 like a sequencer.

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The EP Il Pianoforte by Rubens De rosas was born from the creation of micro scores for keyboard which gave rise to my passion for composition. As time went by I realized that I was a clumsy performer: I reversed the notes, after a while my hands weren't disciplined enough. Even solfeggio, even if I was interested in it, I couldn't master it with the skill required by the classical repertoire. Honestly, when I performed pieces by other artists while recognizing their greatness, an attitude arose in me as if I had to transform myself into a photocopier... On the other hand, every time I played with my own criteria I was transported by good sensations and I felt truly free. With the my Schulz Polman I decided to abandon, almost immediately, my non-existent career as a classical pianist... This is how these short scores were born, where I fully express myself, while recognizing their technical limits. In a nutshell, with the piano I write pages that I am able to perform, unlike other musical instruments that I can write a score without knowing how to conduct them in a tangible way. If you've read this far, you'll be wondering: but if he has a Schultz Polman, why does he make us listen to Midis? I was afraid that the position of the instrument would not allow me a clear and professional recording. Thank you and enjoy listening.

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