for alto saxophone, e-guitar, drums, keyboards, vocoders, autotune, sampler & synths
2022
Cycle of pieces in the threshold of experimental music and pop
I. The Image Junkies
II. Focus
III. Music for highly educated people
IV. Floppy drives lament
V. March of the tired dancers
commissioned by Y-band
for Ebow guitar + objects, Paetzold flute and recorders, Double Bass, live Electronics and Video
Les nomades is a flight around a sound sculpture.
Oneself.
The trace.
The thoughts. Suspended.
Those left behind.
The others.
The body.
The bagage.
The plan B
in search for
plan A.
The dream.
The flight mode.
with Ensemble Vortex
Anne Gillot, Paetzold flute and recorders
Mauricio Carrasco, e-guitar & objects
Tomás Fernández, double bass
Fernando Manassero, live electronics
Arturo Corrales, Daniel Zea, sound engineering.
The videos featured in this work are by Juan Gugger after his piece Trovants (2021)
for flute, baritone saxophone, keyboards, e-drums, sampler & modular synth
2021 – 22
Informed by reflections about consumption of technology: built-in obsolescence of the technological goods, the saturation of the market of apps and their specificity; This piece brings musical reflection on those subjects through analogies with sound objects, conceived as minute sound structures with particular spectral qualities and gestural features that interact in the local level. The principle of accumulation rules the assembly logic of these objects. The sounds become links of different chains that overlap, generating accumulations of variable densities. The sound information given by each sound objects to the audience loses its individual meaning and it will become part of a mass, competing with with other objects for the attention of the spectator.
commissioned by ensemble Inverspace
for hybrid percussion and ensemble
2020/21
It is a look stripped of nostalgia that exposes the cult to the ephemeral, the codes of entertainment and the fragmented and synthetic interpretation of the history of music. Through different simplistic labels, the “eighties” sound of a drum is linked to a synthesiser chord, followed by a distorted guitar troggering reminiscences of different sub-genres. Sequences of references forming a dense and colourful texture. Through a dysfunctional mechanism, the piece underlines the characteristics of accumulation and the delightful vertigo proposed by the entertainment industry.
in collaboration with Roberto Maqueda
Version 1 for hybrid Drumset, turntable, E-guitar, Keyboard, Trombone, Cello
Version 2 for hybrid Drumset, turntable, E-guitar, Keyboard, Bass Clarinet, Violin, Cello
for turntable and electronics
2020
In their night trips moths fly with their wonderful dark camouflaged wings pursuing moonlight. Intoxicated by the power of artificial lights they loose orientation and become trapped, untiringly crashing against the light bulbs, until the morning comes. In this piece the main customized needle used by the performer resembles an insect that seeks sound. The sound-moth crashes and rubs against the spinning platter of the turntable producing complex textures. Manifesting the sound of friction.
in collaboration with Roberto Maqueda
recorded at Centre Pompidou
premiered at Manifeste Festival 2020, Centre Pompidou – Grande Salle
RIM, Jean Lochard
Sound engineer, Arnaud de la Celle
for amplified Oboe, Clarinet Bb and Electronics
2014/15
Bismuto develops on the circular logic of the transmutation and synthesis of its sound materials. In a stable sound discourse, the timbres of the instruments merge with each other and with the track, resulting in meticulously elaborated textures. The sections follow each other organically due to the subtle articulations, which propose an arc of continuity where the dynamics vary delicately.
In the piece the sonorities melt and solidify as it happens with the metal that inspires its name. The iridescent colors of bismuth vary according to the moment of solidification and its degree of oxidation, as well as the textures of BI [bismuto] mutate into sonorities that melt and solidify into different strata, floating and melting into an electric magma.
Written for Eduardo Spinelli and Christian Kemper – suono mobile global
for two saxophones and electronic intermissions
2018
Four ambiences projected from the shiny inside of the saxophone tube. A vague connection keeps them together between the sudden drops of mercury
Written for Patrick Stadler and Geoffrey Landman duo
audio coming soon…
For two performers, amplified objects, microscopes, electronics and video
2018
Amoeba is a throbbing texture, densely populated by communities of audiovisual microorganisms, that spread through the space of the venue. By walking through this structure the audience submerges in the “micro-dramaturgie” of ephemeral gestures that overlap, leak, repel, or merge into each other, forming altogether a thick, complex polyphony ever changing in the small details. Thus the attendants become “dynamic receptors” which modulate their individual experiences by collecting the details of the given totality. The piece is multimodal environment in which the audience, the space, images, electronic sounds and concrete materials were merged into a single unity. It is about the meticulous observation of simple movements, zooming into the complexities of a living organism.
site specific & concert version dur. 45′
Published on vinyl and digital by Total Silence Cologne
In collaboration with reConvert project
Visuals by Ramiro Iturrioz
Masks by Flor Balbis
Excerpt of the concert version, Rotterdam – 2018
For Flute/picc, Clarinet Bb/Bass, Percussion + Sampler, Piano/Keyboard, E-guitar, Violin and Cello 2019
The ultimate distraction usually refers to the latest developments in gadgets whose function is passive entertainment and ephemeral durability. These accessories are governed by the transience of the market, which constantly replace or update them, rewarding their users with an experience of permanent distraction.
Commissioned by Centro de Experimentación del Teatro Colón. (Cetc)
Written for Tropi Ensemble
For amplified Clarinet Bb + accesories, prepared Cello and prepared Piano
2013/14
Written for Trio Música Impura
Maclas is an architectural expression about the perception of the present. The piece displays an omnipresent grid in which sound particles are articulated. They propose to the listener to create links between elements that -due to their duration- can hardly be apprehended. The evolution of the piece proposes temporary situations in which the duration of the sound particles is compressed or expanded, completely changing its shape, although maintaining a single idea of multiplicity within the unitary.
The meticulous dynamic balance that the piece requires generates an amalgam between the instruments, in which the sounds sources fade, to give way to textures and particles without univocal hierarchies.
Maclas demands an active listening, in a game that insinuates or avoids evident associations of sounds, allowing the listener to weave the experience in a time that flows adjacent to the cognitive and perceptual present.
