The 10,000 Thousand Masters of Bottoms inventiveness is based on need, lack and abundance. Potenciómetro González, having spent so much wandering the 80s with his talkative portable electronic keyboard, alternating performances in bar mitzvah and creating several soundtracks for the post-Franco spanish porn industry (the most cunning of the porn industries, where the penis size of the actors could not exceed ten centimeters, in order to make any of the male spectators feel like real gifted heroes), he found himself in his Despeñaperros birth town with Kurt Von Fader, an anti-aristocrat aristocrat who was fleeing from his Kaltental of particular origin and running away from the opulence of the German Federal Republic in general. The extraordinary genius of this second "musician", possessor of sound manipulation techniques through CD players when the planet still did not know about such technology, amalgamated perfectly with the rawness and the wild vaudeville vibes that arose from the keys of the Iberian.

The polished retrofuturist schools of Grotius and Ulrich contrasted and were associated with the crespuscular feeling of the decline of prostitution houses along with the Morocco's hashish and methadone slums that had so much influenced Potenciómetro González and illuminated an exceptional art. Both creators are no longer among us, but their legacy survives and the HAMFUGGI Records' Experimental Archeology Commission and the artists' families have joined forces to give birth to the vast 10,000 Thousand Masters of Bottoms' work, maximum expression of these two geniuses of the musical avant-garde of all time.