English

I was born in Terrassa in 1975. I began to compose in 1990 at the age of fourteen. My early influences were the american composers Philip Glass and Steve Reich. Since the turn in style of my 1992 cassette pieces "Dock'n'Doll" and "Han matat en Johnny" ("They've Killed Johnny"), I explored new styles during 1993, finally beginning the ten-year work on my best work, the psychedelic-pop album "Corrupció Automobilística a Liechtenstein" ("Automotive Vice In Liechtenstein", 1994-2004). The songs' titles and that of the album are simple surrealism, but the music, dense, orchestral, tonal and melodic, opened a world of sound unknown to me until then: I found myself with this record. Unfortunately, I didn't find a record label to release it, which is sad, because response among those non-executives that have heard the album has been nothing but spectacular.

My next finished album, "Feina 2.0 (una evolució)" ("Work 2.0 [an evolution]", 2009-10), was a more spontaneous and diverse record, containing danceable songs like "Automatic Day" and "Hotel Renaissance" (for which videos exist). Redone between 2019 and 2021, the new, definitive version is a far superior and much better produced affair.

Between 2011 and 2012 I wrote a concert piece that became my third solo album. Called “Himnes” (“Hymns”, with english lyrics from old hymns), it was a return to form for me, although it falls into the “classical music” realm and I have experienced some trouble promoting it in pop circles. (The recording was revised in 2019.)

Some productions I did for my friends Tired Hippo opened the way to collaborate with them in a joint album, "petit complot" ("little complot", 2010), for which I wrote five songs, amongst them "Shelby Avenue Bridge", "Boston Tea Party" (not the political party but the 1763 insurrection) and "Arribant a l'illa" (Arriving to the island"), and that shows a fine compositional level from all the songwriters, especially Ferran Baucells.

2014 began with "Duncan Drawings", a rarities compilation from 1992-2013. The first Visitants demo, "Automatic Day", followed. Two new albums emerged near the end of the year: "A New Minimal Record" (compiling many of my early failed attempts at minimal music) and "Alt Bee's Rage", my first album of new material in two years.

2015 saw three records: "Duncan Drawings II" (an unfinished album that I saw as too difficult for me to better it), "1964" (a major, wall of sound work) and "Santuari" (album from 2005-10 that I finished as an instrumental record). "Duncan Drawings III", the final installment of the series, has been released in 2016.

2017 has seen the birth of "Biedroneczki estan en punts" (Biedroneczki are in points), an instrumental record with touches of latin music which has been a neat little experiment that I want to explore further.

 

2018 saw "The Random Rain Intrigue" and "Rainbow Harbingers in Teledysk", also instrumental records.

2020-21 has been a magical time during which I've finished twelve albums, amongst them: “1980” (a double album), "Disfunctional West Coast Promotion", "Boomsday!" (based on an aborted "Requiem", and far superior than the original work) and "Estratègies al Paradís" (the interesting second and third parts of the "Feina 2.0" album)

Other activities of mine are choir-singing, painting, photography and poetry. Also, I've studied Classical Singing with Xavi Ortiz, Montse Solà y Maria Mateu between 2001 and 2010, and Record Engineering at Crash in Manresa in 1997.