Understanding Exosfera:
It was no coincidence. I wanted an album created from a place of calm—without rush, without constraints. To do exactly what I felt like, without thinking about what it "should" be. That’s why Exosfera doesn’t follow any rules or meet any predetermined expectations.
All the compositions are mine, except for Totoro and Opmeit Le. Initially, I envisioned these pieces to be performed live with a band. However, upon meeting Rubén García, a whole new sonic universe opened up before me—one that allowed me to approach these compositions from a different perspective, exploring the possibilities of electronic material. It was both a discovery and a bold adventure.
Working with Rubén has been an incredibly enriching experience. His approach to music has brought so much to the process. From how the main melody of Totoro came to him in a dream—prompting me to compose a B section and a bridge to complete the piece—to the live recording of Opmeit Le (El Tiempo in reverse), a fully improvised session with no cuts, featuring Ismael Tamayo on vocals, Rubén manipulating modular synthesizers, and me on guitar. Twelve minutes of pure improvisation!
Other collaborations have been essential to this sonic journey. Saxophonist Melisa Bertossi contributed immersive arrangements and a spectacular solo in Totoro, based on the harmony we provided. Inma Gomes’ voice shines in Exosfera, delivering a fantastic vocal improvisation. And, of course, the album’s visual identity comes to life thanks to Juanma Reyes, a visual artist who perfectly captured and translated the concept onto canvas.
I like to think of Exosfera as an album for sonic travelers—an invitation to let go and explore unique soundscapes, each distinct yet connected by the same essence. That is the beauty of Exosfera.