In 1996, with the name “Pronoise Industrial Corporation” we formed a band with the intention of combining our diverse musical influences in an attempt to produce a lesser-known style to the Spanish music scene at the time, and perhaps still so today, by drawing from trends in Electronic Body Music as well as the evolution of post-punk, dark, 80s electronic music and industrial rock from the 90s.
We’ve been friends since before we can even remember. Both of us have developed a strong affection for music throughout our lives, each going our own way until we were finally able to fuse these musical tastes and knowledge together.
To put it briefly, Javi was more into dark rock and post-punk, while Nacho was geared towards EBM and industrial music. These genres just touch the surface of what would otherwise be a countless list of other influences and styles.
It was only through the convergence of all these styles that we became inspired to develop the themes now featured in our 2013 vinyl edition of “Low Light Vision”, which, if we may say so, is quite pleasing. There is also a mutual interdependence. Pronoise wouldn’t be Pronoise without Javi or without Nacho, nor with other people. It would be something else and the results would be entirely different.
Now for a little bit about our history and the means we used: In 1996, a series of unusual circumstances led to Nacho getting hold of a fairly basic MIDI synthesiser (without a keyboard) which was actually the first device with MIDI specifications launched by Kawai on the market. We didn’t even know the year it was made; only that it was already considered quite old for its time. As Nacho began to experiment with the sounds which this little device produced, he was able to see how he could combine both his knowledge of computing and electroacoustics to imitate the sounds of some of his best-loved groups.
With just a pair of very basic demos, and on one of the thousand nights in Valencia we spent together, Javi listened to the material and envisaged a way in which it could gain in sound density and power by adding guitars and real electric basses, as well as by processing part of the sounds through sound effect pedals.
All this was mixed with the help of a PC (with a 386 processor of the time) and sequencing software to produce the material you now have in your hands. The only other equipment we had available was an old, borrowed mini four-track mixing board (two for the synthesiser and two for the PC sound), and a MIDI keyboard (the cheapest we could find as we couldn’t afford anything better).
A lot of hopes, hard work, and not to mention dedication went into the project. As you listen, take a moment to reflect on the hours and hours of recording and processing of audio chunks that went into producing the result, with the little that we had available; worlds apart from the technology around today and which other more wealthy musicians would have had in their studios.
Back then no one knew what VST was because it didn’t exist (the first version by Steinberg came out the same year with some very basic applications), so all the effects had to be either recorded straight from the pedals or made post-processing the audio chunks before printing them on the sequencer stems.
All this assembly work was of course in addition to the pure musical aspects: the conceiving and composing of the themes, where we really were able to express our artistic talent. We believe that even today the themes still venture into mostly unexplored musical territory, and we don’t just mean in Spain. We also feel that the message conveyed by the lyrics and themes is just as relevant now as it was back then.
In fact Pronoise Industrial Corporation did also perform live. This meant adapting all the themes so that they were suitable to be performed live. After a first attempt to form a group, our original plans to collaborate with a bass and drum player fell through. Luckily in the end we were able to join forces with César Sáez on bass and Luís Torregrosa on drums.
The rest of the performances were carried out by just the two of us: Nacho on mic and keyboard, and Javi on the electric guitar. We received very positive feedback at the end of these performances, but the local scene and therefore audience was very small.
Unfortunately, as time went on, Nacho had to move to another city for family and work-related reasons, putting the project on hold for a while.
This was until recently however, when by some unforeseen opportunity our recordings fell into the hands of José Valenzuela and David Sánchez (El Montador de Bicicletas and InfoDisco), who, after many years of collecting music on all kinds of mediums, attending countless concerts and visiting places which breathe this sort of musical lifestyle, decided to realize their dreams of rescuing bands and sounds that deserved recognition. In the words of Monta and David “an unusual band on a national scale and, in our opinion, a superb one with voice, lyrics, guitars and sounds… a band which, if born in another time and place, would have had much greater impact. In spite of this, it’s never too late, and so the Horizonte Espectral and Pronoise union was born: an everlasting union of sound.”
After 2013, the continual support of friends and acquaintances led us to re-form, this time with the name “Pronoise” and emerge from where we had left off. Finally, in 2015 our work materialized in our latest album: The Border Crossing.
We would like to thank all those interested in our work and we hope that you enjoy listening to the material which is now available for you to own.
Distorted is the view of man
Nacho Artax and Javi Andreu