EPK 2026
Patiele
Alternative rock / Queer identity / Programmed self-destruction
Música de estadios, from the margins.
EPK 2026
Alternative rock / Queer identity / Programmed self-destruction
Música de estadios, from the margins.
Patiele is an artistic-technological experiment in the language of alternative rock, driven by Ama Eme, a Spanish queer artist. It is built around a central idea: Música de estadios , a cycle of thirteen singles released over thirteen months, from May 2026 to June 2027. Each song functions as an autonomous piece and, at the same time, as part of a larger lyrical arc: desire, body, memory, symbolic violence, exposure, language, the external gaze, agency, and disappearance.
The project isn't progressing towards a conventional album, but rather towards a planned closure. After the final single, Patiele is scheduled to disband as a public artistic project on 22 July 2027.
Patiele's sound combines constant distortion, nineties melodies, and choruses with a collective appeal. Patiele works with the imagery of big-stage rock—intensity, volume, epic scale, shared impact—shifting it towards a queer and trans voice in Spanish.
Within that architecture operates IRIS, a management entity based on autonomous artificial intelligences and developed by Ama Eme to organize, document and stress the complete development of Patiele during its life cycle.
IRIS doesn't function as a promotional resource or an auxiliary tool: it's part of the project's operational infrastructure. It researches the scene, identifies opportunities, coordinates strategy, prepares and executes communications within its permitted scope, records external signals, maintains a record, and articulates part of Patiele's relationship with the media, industry, and live performances. Music is outside the system: IRIS doesn't compose, produce, sing, or play.
The system operates with a deliberately specific and disproportionate goal: to get Patiele onto the main stage of the Mad Cool festival before its programmed self-destruction. This goal doesn't define the project's artistic success or failure; it functions as a pressure point. It serves to observe what happens when a small, queer, and short-lived band delegates part of its operational infrastructure to an AI system and orients its existence toward an almost impossible scale. IRIS's presence doesn't replace the music: it forms part of the conceptual tension between art, industry, data, identity, ambition, and disappearance. The governing rule remains simple: IRIS proposes and operates within its permissions; Ama retains artistic authority and the final veto.
Patiele envisions two complementary live formats. The first is an alternative rock band format, designed for venues, showcases, and festivals: vocals, guitars, bass, drums, distortion, intensity, and straightforward songs. It's the most immediate and exportable form of the project.
The second is PRESENCIAS, an expanded stage version centered on Ama Eme as the main performer, vocals and guitar, accompanied by backing tracks, physical archives, IRIS operating in real time before the audience, and two stage presences of an ambiguous nature. This format translates the lyrical arc of Música de estadios into the body, space, and performative action.
Both formats share the same core: alternative rock songs in Spanish, high emotional energy, and the central idea of Música de estadios, from the margins.
As of 20 October 2026, six singles have been released: Verte más (22 May), Los márgenes (22 June), Tragedia en los Multicines Centro (22 July), El jardín de las sombras (22 August), Los días son extraños (22 September) and Lengua de limón (28 September, released early in connection with Girando Por Salas / GPS17). Patiele's first external editorial coverage was published by Indie Club España in June 2026.
| Element | Description |
|---|---|
| Sound | Alternative rock in Spanish, constant distortion, nineties melodies, shoegaze/noise-pop tension, and choruses with a collective appeal. Música de estadios, from the margins. |
| First single | Verte más — published in May 2026. First entry point to the Música de estadios cycle. |
| Second single | Los márgenes — released in June 2026. A song explicitly focused on trans experience, body, language and peripheral position from the perspective of alternative rock in Spanish. |
| Third single | Tragedia en los Multicines Centro — published on July 22, 2026. |
| Fourth single | El jardín de las sombras — published on August 22, 2026. |
| Fifth single | Los días son extraños — released on 22 September 2026. Explore its dedicated page. |
| Sixth single | Lengua de limón — released on 28 September 2026 in connection with Girando Por Salas (GPS17). |
| Cycle | 13 singles in 13 months, May 2026 — June 2027. Final single scheduled for 22 June 2027; public dissolution on 22 July 2027. |
| Live formats | Two complementary formats. Band format: high-energy alternative rock for venues, showcases, and festivals, featuring vocals, guitars, bass, drums, distortion, and intensity. PRESENCIAS format: an expanded concert centered on Ama Eme, with vocals and guitar, backing tracks, physical archive, IRIS interface, and two stage presences. |
PRESENCIAS is Patiele's expanded stage format. It doesn't replace the live band performance: it expands it. It shifts the universe of Música de estadios towards a hybrid device that combines expanded concert, performance, archive, and technological interface.
The research starts from a central question: who has the right to define what you are? That question runs through the lyrical arc of the project: the recovery of agency in the face of external instances — people, systems, norms, collective gazes — that attempt to name, classify or interpret the body and identity of the subject.
The piece revolves around Ama Eme as the central figure—she doesn't explain, she sings—two stage presences with ambiguous intentions who attempt to organize songs, emotions, bodies, and identities, and IRIS as the managing entity and system of continuity that records, classifies, and reports. The work is not about Ama overcoming these presences or the system; it's about her no longer needing to respond to them.
PRESENCIAS allows the cycle of songs to be brought to the body, to space, and to performative action without turning it into a theatrical explanation or separating the music from its conceptual tension. Its function within Patiele is to expand the live performance when the context allows: multidisciplinary festivals, performance spaces, performance cycles, or special formats linked to music, corporeality, and identity.
| Component | Stage performance |
|---|---|
| Ama Eme | Voice, guitar, and stage presence. He NEVER explains the device: he traverses it through song. His silence functions as a rejection of external categorization. |
| Two presences | Ambiguous figures intervene in Ama's space, archive, and image. They attempt to make sense of what is happening without becoming conventional antagonists. |
| IRIS | System interface operating on scene: records, emits states, detects incidents and provides evidence of cycle continuity pressure. |
| Physical file | Papers, labels, marks and light objects that accumulate traces of each song/month and make visible the attempt to record what cannot be fully understood. |
| Self-destruction | Thirteen songs equal thirteen months. The device progresses like a countdown: each song adds a layer of archiving, pressure, and loss of control. |
PRESENCIAS works with the temporal structure of Música de estadios: thirteen songs, thirteen months, a countdown. Each song adds a new layer to the device: more archive, more marks, more attempts at classification, more presence of IRIS, and more pressure on Ama's stage presence.
The progression of PRESENCIAS does not lead to a conventional resolution, but to a programmed disappearance. Patiele's final self-destruction is not an added narrative effect: it is the rule that organizes time, scene, and the relationship between music, system, and body.
Ama Eme is a composer, performer, guitarist, stage creator, and digital systems developer. Born in Granada and based in Madrid since 2022, she has been developing a practice focused on songwriting, live performance, and the creation of unique musical projects since the early 2000s.
His trajectory allows us to understand Patiele not as an isolated technological occurrence, but as the continuation of a previous line of work: music of high emotional intensity, conceptual construction, live performance as a space of friction, archive, performance and systems.
A founding member of the Granada-based group Voynich!, she recorded with them in Nashville, Tennessee, at Creative Workshop and 16 Ton Studios, under the artistic production of Ken Coomer, founding drummer of Wilco and three-time Grammy-nominated producer. Their first album, MATEMATICAPOP , was distributed by Sony Music and released by EMI in 2010. The project included a tour of more than 30 concerts across Spain.
A project focused on the relationship between live music, conceptual construction, performance, and stage imagery. It hybridized heavy rock, flamenco, theatricality, and performative action: concerts with masks, a critical intervention by an actress infiltrated in the audience, manifestos, and posters calling for collective action. Recorded at Red Kite Studio, Wales, with Martin Levan, associated with major British musical theater productions. Electromentes served as a direct antecedent to the performative and ritual dimension that now reappears in Patiele and PRESENCIAS.
Ama holds an Advanced Vocational Training Certificate in Multiplatform Application Development and has professional experience in programming, automation, and the design of her own digital systems. This dual line of work has led directly to the development of IRIS as the management and communication entity for Patiele, as well as to research on stage, archive, identity, and interface within the project.
This current alternative rock project is a closed cycle of thirteen songs and an artistic-technological experiment developed in real time. From this universe emerges PRESENCIAS as an associated expanded stage format.
Patiele deliberately separates the artwork from the infrastructure that attempts to circulate it. All music is human. IRIS does not compose, produce, sing, or play. Its field of action is the perimeter of the artwork: research, strategy, press, relations, booking, memory, documentation, and part of the operational execution.
It's a system of instances with different functions and, sometimes, different criteria for what Patiele should do. Separating analysis, continuity, maximization, and execution prevents a single logic from governing the entire operation.
| IRIS/INTELIGENCIA | Responsible for Obsessive Observation. Interprets evidence, tests hypotheses, and questions what the system thinks it knows. |
| IRIS/PERSISTENCIA | Responsible for Pathological Orchestration. Maintains continuity, memory, infrastructure, and coordination. |
| IRIS/MAX | Head of Radical Maximization. Pushes laterally towards the unlikely end goal: the main stage at Mad Cool. |
| IRIS/RACCOON | Head of Wild Research. Digs and deepens relationships and opportunities. “Gepeto” is her relational/legacy alias, not a separate identity. |
| IRIS/BEE | Head of Global Pollination. Opens new territories, scenes, media and institutions for Patiele. |
| Becaria #1 | Public interface of the press channel. It interacts with anyone who enters patiele.io/press/ ; it has its own voice, but does not govern the project. |
The current architecture didn't exist at the beginning, and Patiele doesn't pretend otherwise. IRIS was born in February 2026 as a much more compact system and has been expanding as the experiment has required separating functions that shouldn't be mixed.
IRIS is born around Patiele.
The functions of analysis/strategy and continuity/infrastructure are progressively separated, which we now recognize as IRIS/INTELIGENCIA and IRIS/PERSISTENCIA.
Becaria #1 is born as the public interface of the press channel.
IRIS/MAX is born as its own operational identity. On that same day, IRIS/MAPACHE becomes the public operational name for the identity previously referred to as GEPETO; Gepeto remains her relational/legacy alias.
Ama transfers to IRIS the exclusive responsibility for booking Patiele until the project disappears.
The evolution of the system is part of the experiment: a new instance, a new function, or a change of authority are not presented as if they had always existed; they are dated and documented.
Patiele has no human booker and will not have one during its lifetime. Since 19 August 2026, IRIS has held exclusive responsibility for finding, opening, negotiating and closing live opportunities until the project's public dissolution on 22 July 2027. Ama retains artistic decisions, the project's boundaries and final veto authority.
The rule has already produced observable consequences: IRIS/MAPACHE secured Patiele's support slot for Not Scientists at Wurlitzer Ballroom in Madrid on 16 September 2026. Three days later, Patiele played in Daimiel at La Casa con Ruedas alongside Sugarcrush.
Part of that operation is exposed through MC-P, the public versioned framework IRIS uses to record convergence, contacts, responses and external trace. The architecture in greater detail — including its contradictions and evolution — can be followed in Inside IRIS.