Dídac

𝙄𝙣 𝙗𝙚𝙩𝙬𝙚𝙚𝙣 𝙩𝙝𝙚 𝙛𝙤𝙡𝙙𝙨 𝙤𝙛 𝙘𝙚𝙧𝙚𝙢𝙤𝙣𝙮 𝙖𝙣𝙙 𝙘𝙤𝙢𝙢𝙤𝙣𝙖𝙡𝙞𝙩𝙮 𝙡𝙞𝙚𝙨 𝙖 𝙥𝙚𝙧𝙚𝙣𝙣𝙞𝙖𝙡 𝙨𝙥𝙧𝙞𝙣𝙜 𝙤𝙛 𝙢𝙪𝙨𝙞𝙘𝙖𝙡 𝙚𝙭𝙥𝙧𝙚𝙨𝙨𝙞𝙤𝙣.

The self-titled debut of Dídac (Diego Ocejo Muñoz) emerges from an immersion in the Musée d’ethnographie de Genève’s vast ethno-musicological archive. Guided by Dr. Madeleine Leclair, he explored wax cylinders, tapes, and recordings of liturgical hymns and folk songs, shaping them into a post-modern ambient narrative that blurs the lines between ritual, folklore, and contemporary sound art. Rather than using the archive as a static resource, Dídac treats it as a living companion, weaving samples into a dialogue that is reverent yet exploratory.

Born in Madrid in 1994 to Catalan and Castilian heritage, Dídac’s path wound from a Catholic upbringing and rebellion through graffiti, skateboarding, and underground acid and electro production, before circling back to a renewed fascination with mysticism, iconography, and choral traditions. That return to the sacred informs the album’s textures, where drone, electroacoustic sound, and rhythm become a contemplative lens through which Mediterranean lore and personal history converge.

The record inhabits rather than retraces landscapes of ceremony and hymn, its repetitive mysticism recalling Dimitris Petsetakis or Popol Vuh’s cinematic works. Track titles such as “Malpàs Mines” or “Pantocrator’s Portal Outro” evoke spaces where labor, devotion, and memory intersect. Yet the work is not nostalgic—it is a reclamation, an act of singing alongside the spirits of the past while carrying their resonance forward.

A meditation on tradition, rebellion, ceremony, and fantasy, Dídac is a luminous first statement: a tapestry of sound where the sacred and secular dissolve into one contemplative whole.