The Story of The Locust Speculation

The Locust Speculation started brewing in 2009, back when I had just finished high school and met a brilliant musician and friend, Federico Doglio. Federico tossed a couple of riffs my way, and I went all in, adding drums, synths, and everything else by ear in FL Studio. Piecing it all together was like catching fire, and it was my first real taste of composing and producing. We formed a band, and that was it—I was hooked on creating music from scratch.

From then on, I was a constant composer. There were periods when I’d write full songs, other times just snippets or one-minute demos, ideas waiting to come alive. Some of these pieces made it to the stage in Uruguay with bands like Proyecto Aleatoria, Elarcos, and Proyecto Bifröst. The rest? They stayed with me, waiting for their moment. Fast forward to now, and I’m ready to take these old sketches, flesh them out, and bring them to life with my own band.

I’ve spent years honing every part of the process—composing, recording, mixing, and mastering, so today, I can bring each song from start to finish by myself. When it’s time to perform live, I’ve been lucky enough to bring on incredible musicians from Uruguay and Berlin, who also happen to be close friends.

My approach to songwriting isn’t conventional. I don’t start with a formula; the music is usually born from a raw emotion that pulls me toward an instrument or software. The direction of each song depends on what instrument I begin with: guitar often leads to rhythm-heavy, hard-hitting pieces, while composing directly on the computer or by scoring tends to create something more complex and layered. Lyrics always come after the music and reflect on personal experiences, big questions, and raw emotions like self-reflection, social critique, heartbreak, or even philosophical wonderings.

Each song I put out has its own journey. Some lean into heavy metal impulses, others drift toward a quieter melancholy. For example, “Demonized” is a blend of all these elements and took 12 years to come together. I want listeners to experience these songs as something that can speak to their own lives, the way music shaped me and my perspective.

One of my favorite aspects of The Locust Speculation is collaboration. There’s always a moment in a song where I sense it needs a touch I can’t bring on my own, whether it’s a wild guitar solo or a nuanced bass line from someone as skilled as João Pascoal. I’m all about mixing styles and genres and inviting musicians who bring their own unique energy. It’s about building on what’s there, making the experience richer and more interesting with each contribution.

Berlin hasn’t influenced the music itself so much as it’s shaped me professionally. It’s given me connections and insight into a vast, open-minded scene, which I think will play a part in the music I create moving forward. For now, these songs reflect my past, but the Berlin sound may come through more clearly in future releases.

The themes I’m tackling are both deeply personal and universal—social critique, morality, family, the things that define us. Creating this project is something of a spiritual necessity for me. If the music resonates with people, challenges them, or even just gives them something to think about, then I’ll feel like I’ve succeeded.