Artomático – CICLOS

Artomático makes electronic music like a percussionist who got lost in a lab. The Spanish composer and drummer builds tracks from small repeating details, treating rhythm, texture, and sound design as the main characters. CICLOS, his fourth album, feels like a full statement of that approach, folding ambient, post-classical and beat music into something that stays intimate even when it hits hard.

“Principio de esperanza” sets the tone straight away: a huge, weighty kick lands in the middle of the mix while a narrow, flickering synth pattern taps out a single idea over and over. The mood is tense and low-lit, the kind of thing you’d drop under a late scene in a thriller or a slow, shadowy club moment. Even with so few moving parts, tiny shifts in tone and decay keep your ear locked in. It’s easy to hear it under a slow tracking shot, a stealth mission in a game, or a trailer edit that needs space for dialogue without losing impact.

“Ciclos” brings in a steady four-on-the-floor kick, pushed deep under a swarm of short, clipped tones that feel halfway between synthetic marimba and processed hand percussion. The pattern never really lets up, but the edges keep changing: filters open and close, small echoes smear around the stereo field, background noise breathes in and out. It hits that sweet spot where you can nod along or just sit and follow the tiny shifts. Perfect territory for fashion visuals, art documentaries, gallery films, or title sequences that want motion and detail without a big melodic hook getting in the way.

“Surcos” digs into his 90s side. The drum programming has that nearly–drum & bass feel: a breakbeat chopped and shuffled, full of quick cuts and little stutters that echo old jungle records without turning into nostalgia cosplay. On top, the textures stay hazy and slightly distant, which makes the drums feel even sharper. This one is built for chase scenes, glitchy hacker moments, neon city shots, or game levels where you’re moving forward constantly but never quite relaxed.

“Tierra lenta” loosens the grip a bit, letting a hazy guitar arpeggio float over the beat so it brushes up against alternative and post-rock. “Diciembre” strips things back to piano and a high, fragile pad, slowing time down to almost nothing, and “Abrigo de niebla” sinks completely into drone, just a thick low bed of sound that feels like fog with headphones on. “Desoír-huir” yanks you straight back into motion, with sprinting drums and chopped vocal hits that sell that “on the run” feeling instantly, the most obvious fit here for thriller TV, anime fights, or high-stakes in-game moments.

Across CICLOS, Artomático keeps circling the same core idea: repetition that never quite sits still. The album works as a full play-through, but it’s also full of individual cues that are ready-made for sync – especially for projects that want electronic music with a physical, percussive feel and enough space for the picture to lead.

Sync angles:

• Tense drama / thriller underscores, slow-burn trailers (“Principio de esperanza”, “Diciembre”)
• Fashion, art, tech branding, gallery films (“Ciclos”, “Tierra lenta”)
• Chase scenes, cyber / sci-fi, action sequences, games (“Surcos”, “Desoír-huir”)
• Meditative / abstract documentary moments, essay films, title cards (“Abrigo de niebla”, “Microsilente”)