The musical work is primarily developed within contemporary electronic jazz, integrating instrumental composition, electronics, vocal processing, and acoustic experimentation. It encompasses instrumental electronic jazz, instrumental and vocal electronic jazz, and a jazzing style akin to the lyrical ballad, where the musical language is articulated through harmonies and structures linked to jazz, tempo variations, percussion with a marked attack, and an open combination of classical, contemporary, folk, and instruments from diverse cultural traditions, along with synthesizers and digital resources. Polyphonic choirs are a recurring feature in much of the production, both instrumental and vocal/lyrical, functioning as a harmonic texture and structural element.
VOCAL RANGE AND SOUND TREATMENT
The vocal range used is contralto II, extremely low, with a metallic and nasal timbre, which in certain registers can approximate the timbre of a male baritone voice. The vocal component can assume melodic, expressive, and timbral functions through singing, vocalizations, and phonetic sequences conceived as compositional material.
Commercially distributed by MIXNATEN® DISTRO. Blue Ember Records.
AUTHORSHIP AND INSTRUMENTAL ARRANGEMENT
The musical and lyrical composition is entirely original. Each melody arises from an original conception, along with the structure, rhythm, and form of each work. The instrumental arrangement encompasses the selection of each instrument, its timbre, function, entrance, grouping, rhythm, and participation within the composition. The lyrics and vocals are likewise created and developed from their initial conception.
Digital tools, digital audio workstations (DAWs), and artificial intelligence assist with layout and orchestration, allowing for expanded arrangement and production possibilities based on a previously conceived musical structure. Creative, compositional, and instrumental direction remains under the author's direct control.
LYRICAL WORK AND THEMATIC UNIVERSE
The lyrical work explores the language of the body, intimacy, and the individual inner world through an existential, affective, and social poetics. The metropolitan space appears as a setting and metaphor for isolation, interpersonal distance, and difficulty of communication, observed from individual experience and from a broad perspective on a society that is increasingly individualized and disconnected from its natural environment. Affective relationships can constitute a starting point for addressing other dimensions of existence and representing multiple realities at different levels.
COMPLETE MUSIC CATALOG · ALBUMS AND TRACKS
CONTEMPORARY ELECTRONIC JAZZ
Contemporary instrumental and electronic composition, integrating electronic sound processing, textures, and current production resources.
JAZZING
A jazz-related vocal line focused on ballads and sung pieces, with a lyrical and expressive approach.
CONTEMPORARY INSTRUMENTAL JAZZ
Instrumental works primarily based on contemporary jazz language, harmonies, structures, and compositional resources.
DRAMATIC MELODIC JAZZ
Romanticism, nostalgia, anxiety, and intimacy; with poetic, intense, and visceral lyrics, where the physicality of language expresses an inner world shaped by desire, memory, and shared solitude amid the city.
EXPERIMENTAL
Sound-exploration works incorporating experimental compositional procedures, timbres, structures, voices, or instrumental combinations.
Spanish predominates, along with bilingual (English-Spanish) and trilingual (English-French-Spanish) compositions. The linguistic choice responds to both the content and the phonetic, rhythmic, and atmospheric qualities of each language: Spanish lends itself to poetic expression; English contributes a more direct, rhythmic articulation associated with certain contemporary and dance forms; and French introduces a more velvety, intimate, and emotive phonetic quality. In some works, the same content is reiterated in different languages; in others, each language occupies different fragments.
PHONETICS AND CULTURAL IDENTIFICATION
Deliberately non-lexicalized phonetic sequences are also employed, whose sound may suggest a recognizable language without actually belonging to it. This ambiguity seeks to produce an intuitive cultural identification in the listener: recognizing linguistic familiarity even without literally understanding the content. In this way, the perception of language becomes part of the aesthetic experience, generating proximity, distance, or cultural identification through sound, even when the language lacks verbal meaning.
