BIO

as a musician and composer, his career forms a continuous bridge between classical discipline, avant-garde experimentation, and independent pop. He began his journey at the age of 11, balancing classical guitar and music theory with a deep fascination for blues and classic rock. This drive immediately translated into action: learning electric guitar solos by ear, constantly rewinding cassette tapes, and forming his first high school bands. His talent quickly caught the attention of older musicians, leading him to join established groups with whom he would release his earliest recordings.

He continued his formal education at the Municipal Conservatory of Music of Barcelona, studying classical guitar and trombone. There, he was influenced by a faculty trained under figures like Olivier Messiaen and active in the legendary Darmstadt seminars of the 1970s—where they absorbed the teachings of Ligeti, Stockhausen, and Xenakis. Playing in an orchestra opened up an entirely new sonic world for him. It was during this academic period that he experienced a second revelation: if childhood belonged to The Beatles, this era belonged to Stravinsky’s The Rite of Spring. Fascinated by contemporary music, he spent countless hours in the conservatory library analyzing scores and recordings.

This awakening led him to composer Albert Llanas—a disciple of Josep Soler and Franco Donatoni—who became his harmony, counterpoint, and, later, composition teacher. He further immersed himself in contemporary creation through composition courses with prominent figures like Eduardo Polonio and José Manuel López López, and expanded his horizons into visual media, completing specialized studies in Music Composition for Film and TV at the Berklee Extension School. Concurrently, he balanced these academic pursuits with extensive tours across Europe and Russia as a member of Brazzaville, the band led by David Brown (a former longtime member of Beck’s band).

In parallel, he explored two distinct fronts of contemporary creation: fully-notated composition, which won him several contemporary music competitions—such as his string quartet Nystagmus, premiered at the Dr. Anton Philipszaal in The Hague and published by Donemus—and open-score improvisation with graphic notation, founding his own ensemble, POMA (featuring a unique lineup of violin, cello, clarinet, and electric guitar). Later, upon moving to Brussels, he expanded this versatility, blending free improvisation with musicians from the Belgian scene and practicing soundpainting.

Today, he channels his creativity through multiple artistic identities: his studio project Ultramort, where he self-records indie-pop songs on multi-track cassette, and his work as a composer, currently focused on classical guitar. This latest evolution brings the spirit of POMA into a conceptual territory where space, indeterminacy, and silence take center stage. He complements his creative work as an educator and founder of his school, The Guitar Room Music School. His entire body of work unites rigorous avant-garde with pop culture in a deeply personal, free, and cohesive dialogue.

as a musician and composer, his career forms a continuous bridge between classical discipline, avant-garde experimentation, and independent pop. He began his journey at the age of 11, balancing classical guitar and music theory with a deep fascination for blues and classic rock. This drive immediately translated into action: learning electric guitar solos by ear, constantly rewinding cassette tapes, and forming his first high school bands. His talent quickly caught the attention of older musicians, leading him to join established groups with whom he would release his earliest recordings.

He continued his formal education at the Municipal Conservatory of Music of Barcelona, studying classical guitar and trombone. There, he was influenced by a faculty trained under figures like Olivier Messiaen and active in the legendary Darmstadt seminars of the 1970s—where they absorbed the teachings of Ligeti, Stockhausen, and Xenakis. Playing in an orchestra opened up an entirely new sonic world for him. It was during this academic period that he experienced a second revelation: if childhood belonged to The Beatles, this era belonged to Stravinsky’s The Rite of Spring. Fascinated by contemporary music, he spent countless hours in the conservatory library analyzing scores and recordings.

This awakening led him to composer Albert Llanas—a disciple of Josep Soler and Franco Donatoni—who became his harmony, counterpoint, and, later, composition teacher. He further immersed himself in contemporary creation through composition courses with prominent figures like Eduardo Polonio and José Manuel López López, and expanded his horizons into visual media, completing specialized studies in Music Composition for Film and TV at the Berklee Extension School. Concurrently, he balanced these academic pursuits with extensive tours across Europe and Russia as a member of Brazzaville, the band led by David Brown (a former longtime member of Beck’s band).

In parallel, he explored two distinct fronts of contemporary creation: fully-notated composition, which won him several contemporary music competitions—such as his string quartet Nystagmus, premiered at the Dr. Anton Philipszaal in The Hague and published by Donemus—and open-score improvisation with graphic notation, founding his own ensemble, POMA (featuring a unique lineup of violin, cello, clarinet, and electric guitar). Later, upon moving to Brussels, he expanded this versatility, blending free improvisation with musicians from the Belgian scene and practicing soundpainting.

Today, he channels his creativity through multiple artistic identities: his studio project Ultramort, where he self-records indie-pop songs on multi-track cassette, and his work as a composer, currently focused on classical guitar. This latest evolution brings the spirit of POMA into a conceptual territory where space, indeterminacy, and silence take center stage. He complements his creative work as an educator and founder of his school, The Guitar Room Music School. His entire body of work unites rigorous avant-garde with pop culture in a deeply personal, free, and cohesive dialogue.