The cryptographic materials of UM INFERNO É UM INFERNO É UM INFERNO [A HELL IS A HELL IS A HELL] was achieved via two different sources. The first are short sentences from the poem that gives the piece its Portuguese title, by the poet Francisca Camelo, in which the first section has “all cops are bastards”, “all men are bastards”, “all tattoos are stupid”. In the second and last section the text used, from the same poem, is “violence / is fear / fear / is a violation a violation / is a nightmare / the nightmare is a supermarket / and a supermarket is a hell / is a hell is a hell is a hell is a hell is a hell is a hell” (“a violência / é medo / o medo / é uma violação uma violação / é um pesadelo / o pesadelo é um supermercado / e um supermercado é um inferno / é um inferno é um inferno é um inferno é um inferno é um inferno é um inferno”).

For the overall structure there is more text inscribed, sentences that determine the exact length of each of the nine sections of the piece: “It does happen in many places around the world” (“Acontece em muitos lugares do mundo”), “This one tragedy does not justify another” (“Uma tragédia não justifica a outra”), “Could it be that there is no other possibility” (“Será que não existe outra possibilidade”), “She’ll go straight to hell” (“Vai direto pro inferno”), “Her obedience will decide between heaven and hell” (“É a sua obediência que vai decidir entre o céu e inferno”), “I don’t understand, there’s something really strange in this situation” (“Não entendo, tem alguma coisa muito estranha nesse caso”), “Innocence only existed in past decades” (“Inocência existia em décadas anteriores”), “I’ll never forget that little body like begging for help” (“Jamais esquecerei aquele corpinho como se pedisse ajuda”), “It payed for all the sinners” (“Pagou por todos os pecadores”).

These sentences are also spoken by the musicians and were gathered from nine antiabortion Facebook users (anonymous) amid manifestations regarding the rights for a 12-year-old girl to terminate her unwanted pregnancy; the goal of this piece is to expose the many nonsense arguments of people that still stand by antiabortion laws and choices even in extreme situation such as this one. The codifications of the sentences are overlapped, transformed and transmuted, and in the central section there’s also a transposition of letters to pitches, by means of alphabetic matrixes, by the association of individual letters to specific notes or chords, thus creating new materials intrinsically related to the previous.