Why Artisan?

Because, actually,  both the creative process and the treatment bear a lot of similarities to handcrafted work. Technologies help a lot but do not substitute  the knowledge, always growing, or the conscience emanating from experience.


In the construction process of a work there is not a single random note. All of them play a  role, although in the moment of enjoying a work you do not usually  ask yourself about the creating process, the same way you do not ask yourself about the cooking process of a delicacy you are tasting.


There is the extended tendency to depreciate a work because “it  has been done with a computer”. The composer uses all kinds of tools he has access to, the same way a great chef draws upon any means available, some as weird as welding torches, scalpels or test tubes for the sake of creating presentations, smells and textures that sometimes constitute their personal touch, their most treasured secret. But none of this would be possible if they were not aided by their knowledge, their wit, their intelligence, their will, their ability to err and rectify or focuss on different approaches. Without these inherent elements all the tools and the means imaginable   at their reach would be useless.

This is why I vindicate craftsmanship in the process of composition


I do not usually reveal much information on the tools I exactly use. You only need to know everything is the maximum quality I can offer. I sometimes use samples; others I develop them myself or they are recordings from musicians. What matters is the project itself and that you really  enjoy it.

A question of proportions

Whoever devotes themselves to composition faces a truly stressing situation. Most of the times we are accompanying something, be it making music for a film, a documentary or a theater play, we have to adjust to a thousand questions until we reach the objective of the person who hires us and, at the same time, having to innovate and do it until madness to try to find our own space in this complex and competitive world. In the end you end up experiencing  the terrible feeling that you are selling yourself to the interests of others.


And yet we have the right to our own space of personal growth. A space of freedom, submitting only to the hidden and almost magical rules of the muses, which are no more than the beauty born to the fusion of intuition and knowledge.


The current  trend  is to listen to music as musical accompaniment to something, be it a film, a commercial, book reading, while we exercise, or have dinner; in other words, music acts as support to enhance those images, those words, those scenes……..
I have found my own space of personal growth doing just the opposite; instead of composing music to go with images or words, I put images and words to enhance the music I compose, giving you small hints  of complementary  images, text or sounds, so that you only have to leave the daily haste aside, close your eyes and let go.


This music, which does not accompany but is accompanied, feels to me like  a different experience. Some could say that it does not matter whether the music accompanies the  words or the other way round, but I do not agree. It is all about proportion, as when I asked my grandmother “What´s for lunch?”. “Potatoes with meat“ she would answer. “And tomorrow?” we would insist. “Tomorrow meat with potatoes”. “But that´s the same!” we protested. “You´ll see it´s not!” And she laughed.

About the solidarity part

So many questions to attend to on the local and global level exist; so much pain to relieve; so much to inspire so that the people with  power feel the need to do something for the common good; so many good ideas to support…….


Solidarity should be something natural, a way of doing things which came naturally. That´s the line I follow to create my works.


I am convinced a work of art can have a lot of influences at different levels. It can carry in its spirit the ability to cooperate in solidarity initiatives. That is beautiful and  natural. It is almost an obligation.