Mauricio Reyes was born in Mexico City in 1969 and composes music under the name Robol. Musica Metaphysica is his debut album. When he was 14 years old he started to create music with dual tape recorders, two turntables and experimented with different records playing simultaneously at times in reverse. Later he collected rare samples of early electronic music and started to study a wide range of electronic music. One year ago he started to create this album and used sound samples that were recorded during S?ances and other paranormal events hugely amplified.
He sees himself as an architect who constructs the time-scheme and the layers in the music. Mauricio takes the listener to different environments and dimensions in sound and also in experience. After four pieces of electro-acoustic abstract music the track "Clairaudience" starts with a knock on the door. The door opens and a mix of talking people, continuous sounds and filtered layers are connected with each other.
In the last track "Radiesthesia" uses a sample of Jouko Linjama's Kalevala Suite: "Toisin tiesin, toisin luulin" which has been used and programmed, encoded, disformed and formed. Electronics and analogue recordings are melted together in harmony and disharmony. And that is what this album all about! An exploration of dissonance and similar sound waves in sound. About abstraction and realism. About the use of filters and electronics and the lack of it. This album includes a lot of concepts, but nevertheless the album has no academic atmosphere, but is strong because of it's purity. A great album, highly recommended." (JKH)

Musica Metaphysica makes use of Granular Synthesis and Microtonal frequencies to create unique atmospheres and layers of sound. A means of connecting both states is a technique in sound dissonance called Electronic Voice Phenomena (EVP), also known as Instrumental Transcommunication. EVP is utilized to receive messages from beyond this earthbound realm using electronic instrumentation combined with white noise. These instruments can include tape recorders, telephones, answering machines, radios, televisions, or anything else electronic.

Disembodied voices have been heard in the séance rooms of mediums for the past 150 years in the course of modern Spiritualism. The late sitters Betty Greene and George Woods made it their lifetime work to copy their tape recordings of communications in direct voice at Leslie Flint's séance room and make them available for anyone who asked for them. Parts of Música Metaphyisca contain sound clips recorded during séance sessions, hugely amplified.

Música Metaphysica takes the listener through different environments and dimensions in sound. The basis of the recording is an artificial audio-redundancy that serves as the vehicle to enter such dimensions. The piece is 74 minutes long.