BIO
Bedroom Composer/Improviser
I entered the world, not without effort, as a result of my beloved parents honeymoon by the Alhambra. Grandma Trini was a pianist, and my father balanced his music studies at the conservatory with his job. The three of us were born on the same day of January.
In my childhood, I joined a catholic choir, where the “pedagogical” means terrified me. Later, as a teenager, I returned to the conservatory while playing the saxophone in amateur rock and jazz bands. This passion gradually became a source of income, allowing me to build a small studio of my own in the 80s. Technology, from the early Ataris, samplers and synthesizers, has been a substantial part of my sonic vocabulary ever since.
I studied biology for four years before fully dedicating myself to music, with a year-long stint living in Buenos Aires -just after the dictatorship- where I learned the meaning of precariousness. In contrast, some years later, I lived with the spirit of a millionaire during my stances in Rome and Indonesia.
Of all the courses I have taken, I can highlight a summer program with Tristán Murail. However, it was earlier when taking classes with Rafael Reina in the late 80s reaffirmed my need to compose. From there, I jumped to Berklee in Boston to graduate. During that period, my language gradually began to align with contemporary academic trends.
Years later, I returned to study with R. Reina in Amsterdam, this time delving into the intricacies of Carnatic music, inspiring me to write works for various performers under the perishable aesthetic umbrella of complexity.
In the last two decades my musical spirit has progressively ceased to identify with trends of any genre or style as well as eluding the business of applied music. Instead, it melts into the labyrinths of the subconscious, where consonance, dissonance, tonality, atonality, electronic, acoustic, tempered and non tempered coexist harmoniously .
Since then I publish my sonic musings, whether solo or accompanied, on non profit labels such as Alina Records, Fortín Artesonoro, Pueblo Nuevo, or Plus Timbre.
I entered the world, not without effort, as a result of my beloved parents honeymoon by the Alhambra. Grandma Trini was a pianist, and my father balanced his music studies at the conservatory with his job. The three of us were born on the same day of January.
In my childhood, I joined a catholic choir, where the “pedagogical” means terrified me. Later, as a teenager, I returned to the conservatory while playing the saxophone in amateur rock and jazz bands. This passion gradually became a source of income, allowing me to build a small studio of my own in the 80s. Technology, from the early Ataris, samplers and synthesizers, has been a substantial part of my sonic vocabulary ever since.
I studied biology for four years before fully dedicating myself to music, with a year-long stint living in Buenos Aires -just after the dictatorship- where I learned the meaning of precariousness. In contrast, some years later, I lived with the spirit of a millionaire during my stances in Rome and Indonesia.
Of all the courses I have taken, I can highlight a summer program with Tristán Murail. However, it was earlier when taking classes with Rafael Reina in the late 80s reaffirmed my need to compose. From there, I jumped to Berklee in Boston to graduate. During that period, my language gradually began to align with contemporary academic trends.
Years later, I returned to study with R. Reina in Amsterdam, this time delving into the intricacies of Carnatic music, inspiring me to write works for various performers under the aesthetic umbrella of complexity.
In the last two decades my musical spirit has progressively ceased to identify with aesthetics of any genre or style as well as eluding the business of applied music. Instead, it melts into the labyrinths of the subconscious.
Since then I publish my sonic musings, whether solo or accompanied, on non profit labels such as Alina Records, Fortín Artesonoro, Pueblo Nuevo, or Plus Timbre.