Synthesizers is one of the most original works by Congost. In the format of a false documentary the piece analises the figure of the music producer and his role in the development of the post-rock and pop music world. What we know today as dance music was constituted from various music tendencies (Romantic Techno, Spaguetti, Funky, Disco and Pop Dance) which were characterised by the use of new technologies for the recording of tunes. These were almost always of a ludic nature, nostalgic, futurist and sophisticated. Most of the bands at the time used synthesizers, plus, as part of their music, they also pursued a strong visual impact.

This piece metaphorically suggests some of the most imporatant contradictions that emerge in any creative situation when human and technological elements come into play. It goes over some clichés like the relationship human-machine. This is a contrast that also intervenes in other newer disciplines, such as video art, which, as in computer generated music, requires a new framework, different from that of traditional art, within which to be evaluated.

Congost works within different fields in order to think about the creative process and the production of art works, as well as the way in which these works are interwoven with life. His work analyses the encounters between high and low cultures in art forms that go from design to musc, from the fashion of youth subcultures to the advertising industry.

Congost’s aesthetic referents stem from the pop universe, from popular music and mass aesthetics, from the music video and B movies, as well as TV culture. He also makes frequent ironic references to the system of artistic production and compares it with other creative spheres, like the music industry. Actually, it was his interest in music that led him to co-found the music group The Congosound. He also collaborates regularly with other musicians, like Fangoria or Astrud.