41: Diego Torán on music with intention, psychedelics, regenerative living and House of Frequency

House of Frequency
Canacana Music Festival

East Forest
LSD
David Byrne
Warner Music
Cafe Quijano
EMI
Sound Healing
Microtonal Music
Delta Waves
Solfeggio Frequencies
What the Bleep Do We Know?
Water Crystal Healing
Holotropic Breathwork
Alex Serra
Nick Mulvey
Ape Chimba
Brian Eno – Apollo
Jamie Wheal
MAPS Europe
Garden of Light
Tierra Iris
Terra Viva
Juntos Ibiza
Terra Masia
Difuso Ibiza

Giancarlo: [00:00:00] Hello, welcome to this new episode of the Mango TV podcast. Today I’m very excited. I’m very pleased to have Diego Taran. Diego has worked in all fields of the music industry for 30 years, helping artists find their inner voice. Since he moved to Ibiza during COVID, he has focused on all research related to sound healing and working with artists whose music becomes a tool for achieving higher state of consciousness.

He has created the music label recording studio called [00:01:00] House of Frequency and is fully committed to enrich the possibility for the live music scene in the island. He believes psychedelics are definitely an amazing tool for reconnecting with ourself and for creativity. But need to be addressed with more cautiousness.

We’re starting to commit the same mistake that in the 60s He says and also that there are some other amazing tools to find and keep the state of inner connection with more safety Thank you very much for being here Diego. Thank you. Giancarlo So yes, Diego is a real special character because you know as you know Music and sound is integral part of the psychedelic experience to the, to the extent even I was with one of a big VC investor in the psychedelic space and he told me that you know, there’s two really effective way to invest in the new psychedelic renaissance.

One [00:02:00] is drug development and the other is music. It’s like, Oh my God, it’s really happening. So we will talk about everything in America. There is a. A musician called East Forest, and they, they say that he started a movement called Conceremony, the integration of concert and ceremony. But anyway, I’m getting ahead of myself.

Let’s tell us a little bit about your journey. You know, you know, you, you were like a, you know, businessman city boy like me, like many of us. And then what happened? 

Diego: Well should I start from the very beginning, but like my first experience with Psychedelic? Yes, sure. And my, my passion with music, I think they were a little bit connected.

Connected. Exactly. Tell us about that. Yeah. Well, I, I started being crazy about music when I was very young, like obsessed. I wanted to do everything in my life related to, to the music, you know? [00:03:00] And I had my first psychedelic experience really young, too, with, how old? Fifteen. Yeah, Madrid in the in the place where I go what I used to go for summer time And I didn’t know what it was.

Really. I thought it was something, you know, like Actually, I was going to buy some some little house and they told me no we don’t have house, but we have three piece No, it’s how they call it and I say, okay Give me one trippy and I tried by myself without knowing what it was and it was an amazing experience No, 

Giancarlo: what was it?

This trippy? 

Diego: What was it? 

Giancarlo: Yeah, what medicine was it? It 

Diego: was LSD. 

Giancarlo: LSD. LSD. No? So Do you remember how much would you say? It was a big trip, my ego disappeared. It was 

Diego: it was, no, it was it was half of a secante of, of, of a paper. And I went out for a night and I felt amazingly incredible, no? And [00:04:00] funny and mature and connected and it was an unbelievable experience.

And then there was one year when I was 16 that I spent in San Francisco. during my senior year, and there was the whole boom of the psychedelic thing in, in San Francisco or in the, in the eighties. There was concerts and there was, the whole psychedelic culture was really strong. Still lasting, no?

From the, from the 70s. Which year was that? That was 86? 86. 86, yeah. So I had my experience with psychedelics from my 15s to my 20s. And I took them, you know, to listen to music, hang out with friends, go to, to concerts. And I had a Bad experience when I was 20 with all this recreational experience and I stopped doing psychedelics or any kind of other drugs until I was Much more, you know, [00:05:00] but you’re I reconnected with with psychedelics in when I was 28 But that was for ceremonial work and since then all my experience I consider myself like an advanced Psycho psychonauts, but they have been in a really ceremony field 

Giancarlo: So your love for music start, was jumpstarted 

Diego: by the trippies you think?

I think it was, it was earlier, but I immediately established the connection, you know, and I, I, I believe, I mean, I think it’s very easy to explain. I mean, music is, is frequencies and the psychedelics, what they give you is higher frequency. We all made of frequencies. Sometimes we, we become untuned. We go lower frequencies and psychedelics.

They give you higher frequencies not to tune you, you know, all this thing about the scale of consciousness. 

Giancarlo: Yeah, I want, I want, I want to dig into that, but first I want to let you finish a little bit of biography. [00:06:00] So so the bad trip was in your 20s. 

Diego: My bad trip was in my 

Giancarlo: 20s. So what happened? 

Diego: I went out, it was a long night, I drink alcohol, I was exhausted, I need to go home and somebody gave me something which I didn’t, I shouldn’t have taken because the night was already over, I didn’t have the energy.

And so I, I took this and I went home and it was, for me, it was time to rest. Yeah. But jammy kicking. Yeah. And it, it wasn’t, it wasn’t safe. I just did it in a unsafe, no, I didn’t have the energy, I didn’t have the preparation. I had some, what, what do you, what do you think it was? It was LSD, yeah, but the micro thing, which I thought it wasn’t gonna be as strong as it was.

So you felt 

Giancarlo: you were going crazy, you 

Diego: felt, I think, But trips are when you know, I know when you don’t have the set, the proper set on the set. But what’s the experience? What’s the symptoms? [00:07:00] I couldn’t sleep. I was just a lot of thoughts coming to my mind, but I guess yeah, like, you know, what is this thing?

Thinking, repetitive, thinking, obsession, obsessive, obsessive, and And I understood it was, I just didn’t have the set and the setting and the and the energy to deal with it. So I became like obsessed to get out. I think that’s what happens when you have a trip that you want to get out from it. And then the 

Giancarlo: more you want to get out, the harder it gets.

Diego: Yeah. Absolutely. Yeah. 

Giancarlo: And so, okay. So let’s go, let’s continue. I’m curious to when you decide to make music your life. 

Diego: I think my first contact with, with music, I was like eight or nine years old. We had MTV and I saw this guy, David Byrne from the Talking Heads. He was doing this, this amazing concert and he was [00:08:00] playing Psycho Killer, you know, with it, that this is really famous.

And I became immediately, you know, attracted to, to that. And then David Bowie, of course, was For me, like my, my open, you know, big inspiration. But when I was really, really young, 11 years old, I was listening to really advanced, no electronic music or ambient or Brian, you know, things like that. I mean, I was, I went really, really fast and dig into.

Mature music, you know, for, for that age. And I became really, really obsessed. I start playing all sorts of instruments. I had bands and I did everything myself to, to start working in music related business. 

Giancarlo: Nice, nice, nice. And, and, and then someone give you a chance like a music producer. Yeah, 

Diego: when I finish my career.

There was an announcement in the newspaper. They were looking for someone to work, you know, on the sales department in Warner Music, Warner Music. So, yeah I [00:09:00] entered in Warner, then I became. Chief of sales, then product manager, I did marketing, I went to all the, all the promotion, radio, TV, press, and then became very young, A& R, which is the guy who deals with the artists.

And I signed a first artist that was, 

Giancarlo: A& R stands for? 

Diego: Artists and Research. Artists and Research. Yeah. Yeah. Relations. I mean, there is, yeah. So is it the person that deals with the, with the artists, no, with it, tell them, you know, decide which songs to record, which is studio, which producer, the musician like a manager.

Yeah. Yeah. And 

Giancarlo: so who was your first client? 

Diego: I signed this, this artist my first assignment and they went huge. They went like 2 million copies and and they were nominated to Grammy Latins and So, I was promoted in another company as an A& R director. But tell us the 

Giancarlo: name [00:10:00] about the Café 

Diego: Quijano.

Giancarlo: Café Quitano. Café Quijano. 

Diego: Quijano. Huh. Like Latin rock music. 

Giancarlo: But so, did you help them to find their voice? To find their Would you help them more with the with the lyrics, with the sound, with the positioning, with the marketing? What was your specialty? What felt natural for you to help them with?

For me, 

Diego: I mean, this, this is a thing that is being evolving, no? I mean, my religion. Back then, yeah. Yeah, yeah, yeah. Back then was about finding the, the songs and the sound and the musicians in the studio, the idea for the, for the clip. Yeah. Right now, I do different. I know, I know. We’re 

Giancarlo: gonna get there. We’re gonna get there.

We’re gonna get there. Just, just indulge me. Sorry. I know people don’t like it that I’m so structured. I just would like to take the audience to where you are now a little gradually. So you did the corporate career at Warner, you get Café Gitano, two million [00:11:00] copies, you felt on top of the world, and then you went to work for another 

Diego: studio.

Another record company. Another record company. EMI. EMI. EMI. Okay. And I was A& R director, which is the guy that really Yes, the decision on which are the artists and what is the one that was, I was very young for that. I was like the youngest guy to achieve that position in 

Giancarlo: the, what was the thing that turned you on in that job?

What was the moment when you felt so excited that you feel like inubriated like this is my life When when what happens for me? the 

Diego: moment that I enjoy most in the music industry is when I I become in love with an, with an artist and we are starting, you know, we are starting to find, yeah, to find the sound and the ideas and he’s really insecure and he doesn’t know where, and that moment, I mean, it’s beautiful, no?

When they are [00:12:00] super successful and, and, and they, then they have a bigger structure and But for me, the, the most exciting times are the, the, the moment of, you know, helping the artist find their inner voice. 

Giancarlo: But how do you choose your artist? What is the fell in love, you know, for a, for a, for a woman, for us men, Uhhuh.

We can talk about that. Yeah. What, what makes you fell in love with an artist? 

Diego: Well, it’s been completely different in my career. At the beginning I was, I was looking for, for, for artists, which were. Like really commercial, you know, they could do songs to sound in the radio, you know. And because I was working in major company and they were asking me to, you know, to sign artists in order to make money.

And then this is really evolving, you know, I stopped, I stopped working in major companies and I create my own labels and management company back in 2012. [00:13:00] So, I took the freedom on, on choosing the artist to work with more related, more close to my personal feelings, or the artist I really enjoy the music.

And then, since then, it’s become Even deeper, the relation that I work with the artists are really person that are 

Giancarlo: also really inspiring for me. Yeah, yeah. But so that was, what was the name of the production company that you created? 

Diego: Eh, back in the 2012? Yeah. I created, I started with this label, Mundo Zurdo, which, Mundo Azurdo, Mundo Azurdo, yeah.

That was, Absurd world, Zurdo is left handed, Ah, ah, not absurd, I did, I did sign a, an artist, How 

Giancarlo: do you say left handed in Spanish, Zurdo, Zurdo, ah, interesting, yeah. So already you had this approach of being a little bit out of [00:14:00] the ordinary. Yeah. Yeah. Interesting. And so, and then we can go into the thing you want to talk about.

But so your, the, the, your personal record label that was in Madrid, that was still a little bit, you know, out of the ordinary, but still commercial. And that was your job until COVID probably. 

Diego: Yeah. Well, until COVID 19 at the end, I was, you know managing four different labels nine, nine artists, management company publishing.

I had Participation in a restaurant, participation in a club. I was managing a lot of things. I have my own studio in my house. I mean like many things. So very busy. I was in a really strong peak of, you know, stress and yeah, even worse than when I was in, in, in major company, you know? Yeah. Yeah. Yeah.

Yeah. And then COVID hit. And then COVID hit. 

Giancarlo: And then what happened? Yeah. 

Diego: Well, I always had really strong relation with, with this island. My wife was [00:15:00] born here. My father in law is really connected to, to this island. He was the founder of Amnesia. And so we used to, we used to come, to come to the island off season.

I didn’t like the island during the summertime, no? So we used to come maybe January, you know, or Easter. So with COVID it was hell in Madrid. My kids, they had to be homeschooling. My house was, they were, they were doing some works in the street and there was a lot of noise. I mean, and so we managed to escape to the, to Ibiza.

It was for three weeks. Then we stayed one more week. Then we got this friend who let us the house for the summer. And then we found an amazing place to stay and an amazing school and then we decided to stay maybe for a year. And, and now we have, you know, me and my wife and the kids, we have a project to stay in [00:16:00] the in the house.

No, I, I, I managed to seize almost all my activities in Madrid. I still am managing some big artists a big artist, but I’m deeply focused on all my activities to be here presently in the, in the, in the island. 

Giancarlo: Yeah, and you created the House of Frequency. Huh, House of Frequency. Tell us the genesis of House of Frequency.

You know, I remember I came to a party at your house. I think it was maybe the opening of the House of Frequency or your birthday and you made a speech that really stayed with me. You know, you mentioned different actors in this island doing incredible things and you, you, You basically, you know, highlighted this ecosystem of players that would then really increase consciousness in the world through music.

And I got immediately hooked because, you know, I always thought that, you know, I always, [00:17:00] my form of expansion of consciousness has always been psychedelics, but I feel psychedelics is not for everyone. And then, and then, you know, I, I, I, when now our, our listeners know that i’m exploring tantra, neo tantra as a way of expanding consciousness, but also that is not for everybody.

There’s a lot of eye gazing for some people, but music, it’s really accessible and international and everybody loves it. And So so tell me, how did we go to that speech from you being busy with like four labels and a management company and a restaurant and, and, and then now you’re in Ibiza and, and, and you want to expand consciousness.

How that happened? 

Diego: Well, first I, when I came to Ibiza, I immediately start like really become really interested about the consciousness, consciousness and frequency altogether. No? And, and I was [00:18:00] Always talking to people about frequencies, no? So, the name for my house and the studio, the label immediately came, which was House of Frequency.

And I started digging very deep into sound healing music and studying a lot of different, no? Scales, microtonal music, and all these delta waves, frequencies you know, to keep you in more relaxed state of mind, all this, you know, Columbia scale, the solfagio, you know, frequencies and everything that could be really studied about, about, about this.

And I, I did, I went to some sound ceremonies, some with medicine, some without. I went to some ceremonies, really amazing some ceremonies without any kind of medicine. I did a lot of breath work, also, without any kind of medicine, and I immediately understood that the same [00:19:00] state could be achieved through music, through breathing, and with medicine.

But you could take medicine out and, and reach the same, the same experience, no? And maybe not as huge, maybe not six hours of deep journey, but definitely a really nice and safe experience, no? To, to open all your blocks and so after there’s something I understood immediately, I mean, there is not a frequency that heals everyone.

We, we might be untuned, no? Out of tune. Some of our organs might be out of tune. But there is not the four, four, two frequency that will heal you, or will heal me. I understood that more important than any frequency is the the intention of the, of the, of the guy who’s, who’s doing the music, no? [00:20:00] And there is in terms of healing, there is much more power when there is a live guy playing in here.

That if you listen to the music recorded in the Spotify. That’s what I discovered for me that was the biggest thing, no? Like you, you know this book from this Japanese guy with the, with the drops of water, no? The crystals. When you play music to the crystals, the water You change the molecular structure.

That’s, I mean, this is something I study also. It has to be it’s connected with the physics, the quadric physics, no? But I understood how important was more than any scale, more than any frequency. The music is play life and there’s an intention from the guy who’s playing in order to heal. And the effects is completely different than if you play pre recorded music.

So one of the ideas that came to [00:21:00] me really intense is like. Why there is so, such a few space in Ibiza to play live music. I mean, everything is, it’s amazing. Ibiza has been the, the focus of electronic music for the last 30 years. It’s created the, the biggest anthems in electronic music. But there is not opportunities for live music in, in the island.

And I’ve been Dealing with a lot of international artists that wanted to come to Ibiza to play live music, and there wasn’t, there wasn’t opportunities, no, because it was just people came here for the clubs and for party and, and they stopped, you know, and I mean the live music in Ibiza stopped. So I immediately wanted to map the artists living here and the possibilities in order to explore.

Giancarlo: So I want I would like to I would like to expand a little bit on this concept Yeah, you mentioned the Japanese book on how sound [00:22:00] affect the molecular structure of the water We’ve seen in in what the bleep do you what the beep do you know? back in the days, but so I’m curious and I would like you to expand on you said that not only the sound, the frequency of sound affect the molecular structure of the water.

So most likely the molecular structure of human beings. But you said that the intention of the musician affect in a way, but so. Can you try to explain how, how that the intention would then. , you know, like passing to the sound and then the, then passing to our molecular structure is pretty esoteric stuff.

Diego: Yeah. Well, I cannot really explain because it, it is quantum physics. No, I mean, I don’t have the knowledge to know, but this is true. I mean, it is not the same for you to listen a song in Spotify, which can be a beautiful experience. Yeah. That attend to a soul and connect with. [00:23:00] 2000 people with the same music and vibration with a guy that is producing the music at the present time.

Giancarlo: Yeah. Yeah. Yeah. But so I’ve done a holotropic breathwork recently. It’s you know, it’s this practice that Stan Grof, who’s the grandfather of psychedelic assisted psychotherapy created with the wife, Christina, they created the holotropic breathwork. And, and, and this system, it’s works with music, really, you know, you have this, you know, you over oxygenate your brain, you go like this deep breathing with your mouth, and then there is a playlist, and that’s where the magic happen, and in this playlist that can be an hour and a half up to, you know, we call it level one, one hour and a half, level two, three hours, and this three hours playlist guides you And controls your emotions.

Yeah. And so there is, you know, like a, a departure taking off. And then there is, you know, I’ve done [00:24:00] this here with a extremely skillful facilitator in the island, and you arrive at some stage, at some sort of threshold that then allows you to transcend that, then allow you to forget who you are and go into a mystical state and that.

Would happen thanks to the music that would you guide you there? Yeah, so this is incredible So this is what you’re describing, right? 

Diego: Yeah. Well, you’re talking with with a playlist, right? Yeah I mean, I’ve I’ve participated in in Music ceremonies. Yeah. Well, there is live musicians and then there is pre recorded music being played And don’t take me wrong, I mean, pre recorded music is amazingly beautiful when you are in a higher state because it opens your, your emotions.

Giancarlo: But when he’s live, he’s even stronger 

Diego: what is life in his shirt with an audience and then share. And there is a guy putting the intention [00:25:00] to, yeah, to heal the effects even stronger. 

Giancarlo: Yeah. Yeah. But so, so, so you went in a mission to find musician that plays with intention, 

Diego: right? Well, yeah, I immediately, I, one of, one of the guys I was working in my, in my label, Alex Sarah.

Speaker 5: Yeah. 

Diego: Which is an amazing, you’ve seen him live, no? Yeah, he’s an amazing And he went in an amazing journey to find his inner voice and what he found is a treasure. He does not only have this unique voice, but the message he found himself and he’s sharing this. Unbelievable. And the concerts he does is, it’s already like a ceremony, you know.

So I was working with him before coming to the island. And I brought him. And he connected immediately with [00:26:00] the island and the concerts and everything that was happening here. And then I started to meet some artists, you know, that were digging in the same, in the same place, like Ape, and Nick, Nick Mulby, maybe not musically, but he’s conscious.

The words he uses, the way he, you know, he he describes the present moment for humanity is really conscious at the same time. So for me, it was, it was easy to, I find this artist. So this artist, they found me. Yeah. 

Giancarlo: Yeah. But so it’s, it’s interesting. It’s very interesting what you’re saying. It is also possible, you know, I remember us picking with some with some musician.

And you know, when you said, like Alex said, I’ve done all this inner work to find the inner voice. But sometimes I feel that the deeper you go, then you go out. And it’s like the, [00:27:00] the, the message really comes from maybe, you know, some sort of like cosmic design. You become like a channeler. 

Speaker 6: Yeah. 

Giancarlo: Many musicians, they say, you know, when they ask, but so what do you call your inspiration?

And he says, it’s come from God. 

Diego: Yeah. 

Giancarlo: Absolutely do. 

Diego: Do you 

Giancarlo: have 

Diego: that in your label in this label? Yeah. The artists and working. They are. Yeah, totally. They, they know all of them. That they are Channelers. Yeah. And, and they know, they, they’re getting their, their inner voice from maybe back past lives.

Exactly, exactly. Past cultures and yeah. Absolutely. Yeah. 

Giancarlo: Amazing. What you’re doing. So would you say that yours is the first conscious label or is happening in the rest of the world? No, it’s the 

Diego: first I mean, the, I think conscious music has, has exist for, for many years. Yeah. 

Giancarlo: They call, they call they, there is conscious rap, I remember.

Yeah. 

Diego: absolutely. 

Giancarlo: But I never heard conscious. 

Diego: You know, the they, they say that [00:28:00] this. of the earth being taken, you know, from, from the moon. There was the beginning of the conscious, you know, the conservation conscious movement on earth. And I think there was music done. Back in the 60s and the 70s, like Brian Eno, he was the father of the ambient music.

And he, he wrote this, this album called Apollo, which was I don’t know if you know that album has this amazing track called An Instant. And the album described the, how would a man would feel, you know, being in, in the space without the. For me, when I heard that album, really small, I didn’t know back then, but for me, it’s one of the early beginners albums of the conscious music, for example.

And if you go back and dig into, you know world [00:29:00] music, I mean, It’s not only from, from Europe, I mean you dig into the scales and the sacred music from the, I mean, there’s, I mean, so it’s not even from this century. Yeah. Music was used. To achieve conscious forever, forever, even in the beginning, no, in Africa and drum.

Yes. A drum is made with a tree in a piece of car, no, a skin of car. Yeah. And he was, it’s a sacred instrument not to connect with the rhythm of the, of the, of the earth. So it was totally sacred. You know what they say about that? That Romans know the leader. Of Hermes. Yeah. It was also a weapon, I mean a weapon, a tool to connect with the, with the gods.

So sacred or high conscious music has been. I think we lost it. I mean, don’t, don’t take me wrong. I love electronic music and I love dancing and going out. But when music becomes [00:30:00] something just for party, it lost the power. Yeah. For me, a song, a song had always the power to be a revolution, no? A single, a single song.

Beautiful. And I think we, music has lost constant. way. Yeah. It’s fun, though, to dance reggaeton. I love it sometimes to dance, but it was music conceived with a, with a sex chakra, not with the heart or, or 

Giancarlo: yeah. Yeah. Beautiful. Beautiful. But so one topic that is very dear to you. Is you know, the possibility that psychedelic might be abused.

Diego: Yeah. 

Giancarlo: So, tell us a little bit like that when expand a little bit on this concept of abuse. 

Diego: Well, you know, in the 60s, back in the 60s, this, all this psychedelics, there was amazing studies like right now. And everything was interrupted, no? And the substance went on to the A list. And so we’ve been without studies on psychedelics [00:31:00] for 50 years.

Yeah. And now back in the 2010, when it was, those substances were again, you know, included and we could start doing research. Yeah. The problem with this, I mean, it’s, it’s, it’s amazing the problem that is happening right now, especially in places like, like Ibiza, no? It’s like we are not taking serious the, we know in order to take psychedelics, we need to do a proper set and a proper setting.

It’s the first rule, no? Yeah. And people is not taking this seriously. And they are taking psychedelics by themselves. A lot of quantities every week. They’re not doing a proper, you know, set. They are not doing a proper integration. They are using psychedelics to escape. To escape. Yeah. And that is, you know, bringing a lot of mental health issues.

And I’m very sad with this because it can be a moment where, you know, the pharmaceutical industry and the governments and the legislation take examples of this. You’re [00:32:00] so right. Disabuse in order to interrupt the most amazing thing that is happening right now with, with all, so I’m a little bit, you know, concerned and I think we, we all that know this psychedelics, we, we have to raise her hand and say, guys, use this properly, please.

Be careful. Yeah. 

Giancarlo: Yeah, no, it’s true. Absolutely. In Spain now, there’s been some raids of, of police during ayahuasca ceremony. I think there’s been like four. And then when they go, when they go in front of the judge. You know, there is there is no crime because in Spain, you know, you can do even if DMT is illegal you can, you know, personal consumption is allowed, but but for sure, you need to be really careful.

in doing with the right practitioners, definitely not doing in, you know, people that take one gram, two gram of mushroom at concert. I think it’s a little bit reckless. [00:33:00] So, so it’s true that we don’t want to make the same mistake with LSD and the Ken Kesey and the practice prankster. They were like having crazy party.

And then, you know, then casualties happen and people get hurt. And that was the excuse for the government to, to, to criminalize this compound. So, so This point you’re raising is very important. 

Diego: Even, even right now, I mean, I know I have close People in this island that I can, a few cases, no, of people taking psychedelics by their own, too much, every week, and now they are facing, you know, like it triggers mental, and this is really scary, no?

Giancarlo: Yeah. Yeah. Yeah. No, it’s, it’s, it’s very important that you bring this up. You know, Jamie wheel from from the flow movement. He says that there is a new generation of peak addict, you know, addicted to peak and bliss whore. Yeah. You know, because it’s true. [00:34:00] Part of the psychedelic experience might, you know, at their best might create this peak experience of pleasure and joy and heaven.

and connection. But that’s, you know, it’s like, that’s one part of the experience. Then, you know, you need to do the work. You need, you know, this realization, this sense of connectivity then needs to translate in your everyday life, in your behavior, in the way you relate to others, in the way you talk to yourself.

If you know, like someone sent me a message, like everybody wants to do a was kind of what he wants to do the dishes, you know, because it’s, it’s, you know, this psychedelic that teach us a new way to relate with oneself with other. And that’s my sounds a little preachy and, and, and woohoo. But ultimately, you know, they open your heart and they increase this connectivity with other.

And, and if you keep on going back looking for the peak experience and the [00:35:00] bliss, but then without integrating the teaching, then it’s a, it’s a way to, of misusing it and, and people, you know, and then practitioner would bank on it because, you know, then it becomes a business. And then, you know, a practitioner see the same people coming over and over again.

And not every practitioner is ethical enough to say, Listen, you know, this plant of teachers, like every teachers, you need to do the homework and learn what they told you. Because if you show up again without having done the homework, the teacher lose interest. But, but, but they don’t. Most of these practitioners, they take the check.

Diego: For me, it’s very easy to, to get lost in the realms of the vegetable, the, how’s it called? The plant medicine. The plant medicine. It’s very, I mean, it’s, it’s so beautiful to, to, you know, to watch a tree talking and breathing and and, but we have to remember that we are opening portals to some other dimensions.

Our astral body is out of our [00:36:00] body. I mean, it’s like we are diving on like 200 meters on the water. I mean, it’s not a journey that you can do, you know, you have to, we have to take care. I mean, when we cannot do this by ourselves, we do this because we need to heal things, not just to have fun and see the universe exploding in.

So yeah, yeah. I mean, I, I totally I’m super happy that all these substance are being regulated, I mean miss legality. Yeah, rescheduling and legalization. Yeah, but I’m concerned on how will this. You know what will happen? You were mentioning about what is the future in the next 10 years, no?

Yeah. I mean, if everyone can buy psychedelics in the store to, to go on a party and they mix with other substance and I mean, there’s gonna be immediate cases of, you know, psychosis and Yeah. So, I, I think they, they [00:37:00] need really strict prescription, no? Psychedelics can only be taken if there’s a safe set and a safe setting.

Yeah. Yeah, 

Giancarlo: the model now, the maps model, and you know, compact pathways, the big companies, they are basically creating a program to license therapist and that only the licensed therapist can access the medicine and only them can give it to the patient. Yeah. Yeah. So the model that now the regulators and the and the, you know, the new bio company are creating is, is, is not to be able to be able to, for the retail, for the people to be able to access it.

But then again, you know, we can discuss that you know, the training, I mean, who certifies. This practitioner, and this is, I don’t want to be too much off topic because we wanted to really to talk about music. But the question is, you know, is it, is it even possible to [00:38:00] integrate this medicine that comes with the Cosmo vision of cosmic design and ancestry medicine into a secular materialistic health care?

That don’t believe, you know, if you ask a psychologist, they don’t, they don’t talk about God. They don’t talk about spirit. They don’t talk about ancestry. They don’t even talk about creating support. They don’t even hug. They can’t touch. They can’t even take for a coffee. It’s you know, like the mental health model of the Western world is almost incompatible with the plant medicine world.

But tell us a bit more about music. So what are you up to now? Are you looking for artists? If people are listening to, is there some conscious musician out there? Should they send you a real or not? 

Diego: I don’t really have a prepack agenda in the studio. And I’m also directing this, this new festival. Oh, [00:39:00] nice.

Tell us about it. The idea is bringing live music to, to ebit and, but for me it’s like an, an act of bringing, regaining consciousness. No. Mm. So this is gonna happen this year for the first edition. It’s gonna be in a scanner. It’s gonna be 2000 people capacity. Wow. Scenario. 

Giancarlo: It’s, it’s, it’s like an outdoor, it is like, it’s an outdoor big field 

Diego: in the beach.

A nar Oh, nice. Near the forest. I want to do some kind of program like, I don’t know if you know, not just the Botanic or Madrid or . Nice. Like two artists each night. For how many nights? 10. 10 nights. 10 nights. One. I mean, you don’t need to go to the 10 nights. You Of course. Which is the night you want to go and you buy a single ticket for the night.

Amazing. It’s like a program. When, when is gonna be, this is gonna be from the sixth to the 16th of. Of July. 

Giancarlo: Oh, okay. So come coming, announce 

Diego: the artist really soon. Yeah. It’s gonna be amazing. Yeah. [00:40:00] Amazing artist Never came to, never came to, to Spain at all. And amazing. They, 

Giancarlo: they’re all gonna sing with intention.

Diego: The artists I bringing , they have a really clear instance. Yeah. 

Giancarlo: But, so how people can find information about that, 

Diego: the festival. Yeah. We, we, we are gonna be announcing April the 28th. Yeah. 

Giancarlo: But give us an insight here on like, is there a website? 

Diego: Is there a website? Yeah. I mean, I wouldn’t like to, to tell, I mean, I can, I can tell you maybe, yeah.

Some of the bigger artists living in the island are going to be performed. 

Speaker 5: Yeah. 

Diego: Like Alex and Nick, but we are bringing some amazing artists. I mean, I can. Maybe do a window for you and like an exclusive. I’m bringing this North African. 

Giancarlo: No, but I’m not asking if you can’t disclose them, but just like, you know, for people that are listening, if they want to come, what’s the name of the festival?

Speaker 6: Canacana. Canacana. It’s going 

Giancarlo: to be canacana. com. 

Speaker 6: [00:41:00] Canacana. com. Yeah. Okay. Canacanamusic. com. Canacanamusic. 

Giancarlo: com. So we’re going to put it on the show notes. Yeah. It’s gonna 

Diego: be heavily promoted and announced and there’s big bands and artists coming so it’s gonna be, I mean, it’s gonna reach people in Ibiza.

Giancarlo: Amazing, amazing. And so what’s gonna be the policy for medicine? 

Diego: In, in the festival? Yeah. I was discussing with my partners if we should do no alcohol as a policy. Nice. No? Nice. I mean I think it would be really challenging, you know, because I want this festival to have to be, you know, like an engine of conscious like the act of bringing live music back to the island is a conscious act of restoring, you know, this because the the festival has this climate, you know conscious theme.

Yeah. We are talking with Brandon. organization in order to be partnered with them and some other organizations. At the end, the [00:42:00] festival pretends, you know, to, to, to be, you know, in the message of earth, the urge of earth conservation, be, be the message, no, of this, of this festival. That’s why we are doing this.

That’s why you ask the musician to. We are choosing artists that are fitting, fitting this this theme. Yeah, yeah. I’m not bringing secure. 

Giancarlo: That’s so interesting. That’s so interesting because I think you’re really, you know, creating a movement. I mean, I stopped alcohol as you know, seven months ago, eight months ago.

So I’m, I’m totally with you. How do we, how do we create successful event without alcohol? Or maybe having just. One drink. So with the ticket, you get, you know, with your ticket, you can get one drink and then that’s it. If you don’t have the ticket, it’s gone. Because, 

Diego: well, for me, I tell you, you know, have you been in the Garden of Light, no?

Jason and Marius. They started doing this last year and [00:43:00] it’s a beautiful programming and helping them with with some artists and doing rehearsals of some of the artists they’ve been presenting in my place. And and it was, it was taking some people from France, from Madrid to, to Garden of Light. Okay, I’m gonna get a beer.

No, no, no. You cannot get a beer. And they were like, what? I mean, it was like, The, the idea of spending 3 4 hours in a place just connecting with the music for, for a lot of people, even for me at the beginning, no? It was like but I cannot get a mezcal or or, or a wine if I want. The idea was, is shocking at the end, at the beginning, but the experience of being in contact with the music without alcohol, yeah, it was unbelievable the level of, you know, integration between the artists and the, and the audience.

No. Yeah. But this festival we are doing is 2000 people. Yeah. I mean, I love to. [00:44:00] I’d love to be the first festival with this capacity. Just saying this message, no, there’s no alcohol. This is just this such a beautiful integration with the audience We don’t have this low frequency substance. 

Giancarlo: Are you gonna be able to do it?

Diego: No, because there is I mean Because the force of commerce I mean they are saying like Okay. Yeah, maybe this, but we need to have this, maybe natural wine and these whatever organic beer and artisan. Yeah, 

Giancarlo: that’s a big topic. You know I’ve, I’ve, I’ve, I’ve shared in this podcast that, you know, we’re developing an ecosystem in in the old town where we’re going to have therapy room for transpersonal and somatic work and incredible teachers.

And so we’re now looking for an operator for a bar. And then we were like, you know, should we do juice or should we do my skull bar? And i’m i’m like you i’m it’s a conundrum and so i was speaking with [00:45:00] Mattia milani is a good friend of ours who started this community terra iris And he says, you know, it’s not about the consumption, but again, it’s like the intention he was telling me.

You know, if, if you’re present to a glass of mezcal and you’re really honorary and you’re present with it, like a glass of wine, it’s always the abuse. You know, so, so maybe we’re going to do for me, you’re going to do juice during the day and my skull and white during the night. But it’s a, it’s a big topic that you’re exploring.

It’s amazing that you know, 

Diego: in this conversation, it seems that we talk to many different things, but at the end it’s all the same. Yeah. Low frequency, high frequency, the music, the life, the intention, I mean, it’s all the same, no? 

Speaker 5: Yeah. 

Giancarlo: Yeah. I feel, I just would like you to try again. I know it’s very complicated stuff, but you know, when you say music is frequency, [00:46:00] low frequency, high frequency, can you tell me more about that?

Diego: Okay. Well, music is basically three things, no, is melody, harmony and rhythm, 

Giancarlo: melody, harmony and rhythm. 

Diego: The rhythm is the, you know, the drum. Yeah. The melody is maybe this, the, the singing voice and the harmony is the scale of the, of the, that’s, that’s what music is, is made of. So, depending on how you combine these elements, you get a different result on the, on the the listener, no, and you can, music is really transformative.

I mean we are make of all ourselves are vibrating in cells. So when we receive this music, we are ourselves. Start vibrating in another state. We are instruments ourselves. Yeah. Yeah, if you listen to metal, hard metal Music immediately you get this like kind of [00:47:00] you want to jump into the audience Yeah, and be you know aggressive and if you’re listening to I mean this is immediate you will receive these frequencies and our body reacts So, 

Giancarlo: amazing, amazing, but so what’s your dream for the next five, 10, 15, 20 years of House of Frequency?

Okay. There is this branding agency that we’ve been using for Terra Viva for our regenerative farm. There was, they make us do this exercise. Okay. Imagine it’s 20 years from now. So 2043. Yeah. There’s an article of House of Frequency on the newspaper. Yeah. What does he say? 

Diego: Well, 2043. Yeah. World. I’m, I, I, I don’t know.

I’m a little bit concerned about 2043. I have two kids and then this last two summers it’s been fucking, you know, hot in Ibiza. I don’t know. It’s going to be 2043 in 20 years. I’m really concerned. That’s why all my [00:48:00] projects are also related to earth conservation. No, we, I think we need, it’s impossible to, to, to stop the, you know, the, the, the, the climate change effects, but at least we should do a little.

Giancarlo: No, but it is possible. It is, you know, like in Ibiza, Ibiza is 500 square kilometer. 

Speaker 8: Yeah. 

Giancarlo: You know, one third is pine and one third is abandoned land or tilled. Yeah. So two thirds. doesn’t absorb very much CO2 and does absorb much water. Yeah. With this movement, with all these regenerative farms like whom toes and the San Cristobal and Terra Masia and Terraris and Terra Viva, there is a movement of people regenerating the land.

creating biodiversity, integrating animals, and that will create more water, will retain the water that otherwise goes into the sea. It would retain the water in the, in the aquifer, will retain the CO2. And if we regenerate a hundred square [00:49:00] kilometer, We can change the climate in this island. You know, it will be more temperate.

We will not have 40, 

Diego: even if the whole planet, 

Giancarlo: even if the old planet, because it’s very local, you know, it will become more moist, more, you know, less dry in the summer. And, and, and, you know, we can create water with regeneration. That’s why That’s why it’s, it’s, it’s talked everywhere. You know, rejected agriculture is one of the top solution for climate change.

You know, we can do that. But so forget a little bit, assuming that we solve the climate crisis and maybe let’s reduce one year because otherwise we went to out there. So how’s the frequency. 2033. 10 years from now, what do you want to see an article say about House of Frequency label? 

Diego: I mean, first, I would love to be here in the island.

It’s, it’s, it’s, it’s in 20 years. It’s, it’s, [00:50:00] it’s difficult, no? The island is getting, you know so expensive, it’s too expensive and, and many interesting people and, and, and an artist and many, they cannot afford to live here, you know, for me, this is a disaster. So if only really wealthy people can live in the island, I mean, there are many interesting wealthy people living in the island, but for me, that is a, there is a problem, no?

So, for me, I mean, House of Frequencies is one of the projects I have. And really, mental health for me is really important issue as much as the earth conservation. So House of Frequencies is, there’s, you know, vehicles in order to restore. You know, mental health problems consciousness in order to be more, you know, so it’s not my house [00:51:00] of frequency, my main, you know, thing I, I want it to be, to keep being like it is.

I mean, it’s a, it’s a place for an artist to, to meet themselves, to have, you know, the tools in order to, to create music. I love to help as many artists as talented as Alex or APSR as I can. There is a lot of artists right now in the world, but it’s really easy to achieve. 

Giancarlo: So maybe, so maybe the article says 20 years ago, House of Frequency created a trend of live music with intention.

that has developed into communities where artists would live together and regenerate the land, creating part of creativity. And, you know, it’s like Terraris is doing, you know, Like, it’s true, it’s expensive if you want a big house on your own, but if you divide the rent in 10 15 people it becomes [00:52:00] affordable.

And then, you know, if you 

Diego: The privacy law doesn’t allow you to do that. 

Giancarlo: Some law doesn’t. So maybe that’s the I mean if you have a six bedroom, seven bedroom house, you can leave 10 people and then maybe, you know, a couple of people are hidden somewhere. But now that’s your, that’s a very good point about the visa being so expensive, but I, it is possible that with this, the community model, it’s a good model.

I mean, it’s not easy to live in community, but also can be an opportunity for growth. And that, you know, the terra iris model makes living in this highland affordable. And, and, you know, like enterprise like mine, for example, with the hotelito in town, the diffuso in low season, we’re going to have super good price for artists and practitioner, you know, maybe in the future, there’s going to be a more seasonal type of Ibiza where in the high season, it’s more for the rich people and in low season is more for the artists.[00:53:00] 

Diego: Totally. Yeah. But even now it’s hard to find a house for the wintertime in Ibiza at a normal price. Yeah. But anyways, back to my, yeah, I would love in 20 years to, to keep in one of the agents, you know you know, for this transition. I think after the COVID what happened in Ibiza is, okay, it’s good. The club scene, the nightlife, the luxury thing, the judge and all these rich people.

But the I think the daylight has, you know, emerged with a lot of regularity projects. So I would love to be part of this daylight movement, all related with artists, music, consciousness. Taking care of mental health. 

Giancarlo: I love this expression. The day life instead of night life. Yeah. Yeah. A conscious day life.

Conscious day life. Amazing. Conscious movement. Amazing. Listen Diego, I think it’s, that’s been so nice to have you. I think you raised so many interesting topic. You’re like walking the talk, [00:54:00] you’re doing the festival, you’re producing interesting music. It’s I’m very grateful to have you here in the island.

Is there anything, you know, we’re getting close to an hour is a perfect Yeah. Time to, to end. 

Diego: Well, I’m sure when I listen to this is, is gonna be a lot of many things. I wanted to, you can come back if a personal excuse for us to Yeah. To meet again. Of course. For sure. 

Giancarlo: Thank you very much for your time.

Thank you. Thank you, Diego. Thank [00:55:00] you.