KAAMOS follows SARCOMA’s earlier digital release TRANSgressive HNW Experiments

Transmission 208: Interview with Sarcoma

SARCOMA is the solo project of Madrid-based noise artist and performer Luna Jiménez. Drawing from power electronics, death industrial, and harsh noise, the project merges abrasive textures with diaristic themes including dysphoria, borderline states, and emotional rupture. Early attention followed a track’s inclusion in the 2023 Autoplacer compilation, leading to releases such as Peritoneal Disseminations and the digital album TRANSgressive HNW Experiments.

Title: KAAMOS
Artist: SARCOMA
Genres: Electronica, Experimental Music, Industrial Music
Label: She/Her Records
Description: Interview with SARCOMA about KAAMOS, out 29 May 2025 on She Her Records, where she shares thoughts on grief, queer isolation, and harsh noise.

Formerly active in La Profecía, Dunkelwald, and Junio, Jiménez remains engaged with DIY and trans-feminist networks, emphasizing accessibility and direct distribution.

SARCOMA’s second full-length, KAAMOS, is released on 29 May 2025 by She/Her Records, following a period spent in Finland. The album reflects on psychological shutdown, failed intimacy, and seasonal depression, recorded largely in a single night using samples, noise, and personal writings.

What memories surface when you think about the first time you connected emotionally with sound?

Well this is actually kind of a guilty pleasure, but we all start somewhere I guess. Both my siblings are much older than me; +10 year difference. My brother was a nu-metalhead and my sister was more into electronic music. I remember my firsts goosebumps occurred when my sis played Skrillex’s Scary Monsters & Nice Sprites to me. But then my masculine validation issues started and I started getting into Nirvana, Slipknot, Korn and shit, to impress my brother. I remember wanting to be a DJ/electronic producer and then moving on to learning Deftones’ My Own Summer on drop C.

How did your experiences in La Profecía and Dunkelwald contribute to the birth of SARCOMA?

The earliest SARCOMA is quite influenced by EBM and post-punk-ish shit. In fact, since people knew me already from La Profecía and Dunkelwald, I started making remixes for my darkwave and goth friend bands. I love this kind of music but I also wanted to make something more chaotic and I needed to express my political burdens in a more explicit way, since I was really angry and horny. Dunkelwald is still active. Marco is my best friend, I love him and I love touring with him. We have a new album coming soon, more Boy Harsher/Sextile-like.

How did the local scene around you respond when you first began performing under SARCOMA?

At first people from the post-punk and goth scene where showing up at my gigs. Queer people mostly. Lots of queers in these scenes. I actually started this project as a personal venting in the form of a bad joke and I was surprised to know that people also from the experimental were liking my shit. When the Autoplacer finalists where announced and I saw my stupid selfie posted in there I started to take it “more seriously” – still a punk act – and soon I was doing cool gigs and having my own record edited! A dream come true.

What kind of tools, setups, or even accidents have become central to how you construct sound?

I love sampling. A lot. Grew up in “not lived nostalgia” for The Prodigy era. Most of my noise is made out of stupid samples. On the new album there’s this recording of my friends Nervio Ignoto playing with some toy frog that made sounds. It’s also a cool way to reference artists I love. I also tried scratching records, hitting metal plates, making harsh noise with pedals, and playing around with my voice

What drew you to Finland during the writing of KAAMOS, and how did the environment influence you?

My friends Naakka brought Dunkelwald to Finland for the first time, back in ’23. Then I fell in love, both with the music scene and with my person. I came back couple more times, started learning Finnish, even thought about moving there someday. I decided to visit my love for this last new years eve, but things had changed at lot since the winter came. She was the first person to talk to me about the kaamos concept and how many Finnish people deal with a terrible winter depression every year. She was one of them, I guess. One of those Finns that dreamt of running to my country every winter. I spent my last couple of weeks between Helsinki and Tampere, between craving avoidant affection and trying to move on. I couldn’t. It almost feels like this kaamos depression was contagious to me. I’m still freezed with this coldness of her rejection in the +30 degrees spring in Madrid. I can’t get out of my mind that image of the frozen sea while dying of love in the snow.

Did you record KAAMOS in a single session or across different locations and setups?

Well, that previews answer was quite painful to writel! uf haha. Anyways; I made most of the album on a single night (bedroom). Most of my work is digital anyways. I couldn’t sleep and my voids where haunting me. Then I started collecting lyrics from my diaries, and recorded more noise and vocals in my rehearsal place. I felt the need to vomit this album quickly and try to move on. Don’t date me. I make this things. I am not OK.

Are there particular writers, filmmakers, or visual artists who have had a lasting impact on your work?

This particular record was very influenced by Ethel Cain’s Perverts, tbh. Other than that, I see lots of Lynch and Gregg Araki in my pieces. She showed The Doom Generation to me, it marked me a lot. I’m anyways in love with the Industrial acts from the 80’s and early 90’s. Uboa is also an obvious inspiration to (I guess) every trans girl making noise out there. A record that has a huge impact in early SARCOMA was Fotocopia’s EP. People sometimes say that I’m like a female version of Teo (Fotocopia), and I think that’s lovely.

Are you currently working on a new album or EP? What themes are you planning to address in your upcoming material?

Not for the moment. I need a break. Been releasing shit super fast this past year. I have some ideas for an Aphex Twin-like EP in the future. Something like “not a DJ”, constructed with stupid and amphetaminic glitches. If I keep making music right now, I’m sure everything will be about her, and It would keep me from moving on. I really need time to focus on my mental recovery for the upcoming months. In any case, my themes are always sapphic & depressing shit and self-hatred and chronic loneliness induced by a hostile society towards subversive individuals. Spending a lot of money in therapy. Sometimes I consider making gigs just for that money, though I really need to enter my straight-edge & non partying era for quite a bit. I’m having this next tour with my sis Luna Lias from Italy to promote KAAMOS and then I’m taking a break from everything.

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others