I never thought of living a war. Already in the eighties we were getting used to the idea of a nuclear war in which everything would end very soon, they were the most important years of the cold war. However, as the years went by, that idea was dissipating and we began to live a mistaken “normality”. But who was going to prepare us for a covert biological warfare? In this war, the most affected are the old people and the young people and the nightlife, Young people who have had to stay at home. With restrictive measures that have been useless. Nightlife is mortally wounded. I didn’t know when I published the Requiem for God Abraxas, in January 2020 that it could be a premonition of what was to come. Today I have condolences for electronic culture.

Jamás pensé que viviría una guerra.

En los años ochenta nos educamos bajo la sombra de una guerra nuclear que, creíamos, acabaría con todo de forma inmediata. Eran los años más intensos de la Guerra Fría. Con el paso del tiempo, aquel miedo se fue diluyendo y comenzamos a habitar una falsa sensación de normalidad.

Nadie nos preparó para una guerra diferente: silenciosa, biológica y encubierta. En esta guerra, los más perjudicados han sido los mayores y los jóvenes, especialmente aquellos vinculados a la noche, a la música, al encuentro colectivo. Jóvenes obligados a quedarse en casa, privados del espacio donde se construye identidad, cultura y libertad.

Las medidas restrictivas, confusas y contradictorias, han dejado una herida profunda. El ocio nocturno ha quedado al borde del colapso, y con él, una parte esencial de la cultura contemporánea.

Cuando publiqué Réquiem por el dios Abraxas en enero de 2020, no imaginaba que aquellas palabras podrían anticipar lo que estaba por llegar. Hoy, con distancia y dolor, siento un profundo pésame por la cultura electrónica.

Every day I realize more about what marketing offers and not the artistic quality. I recognize the fate of some of those people that being at the right time in the right place have achieved their purposes, others instead, have achieved with money what their artistic quality does not have, creativity. Everything is supplemented with the value of money, good teams good marketing and how it works.
How dark I see everything.

Cada día me doy más cuenta de lo que el marketing ofrece y no la calidad artística. Reconozco de la suerte de algunas de esas personas que estando en el momento exacto en el lugar adecuado han conseguido sus propósitos, otros en cambio, han conseguido con dinero lo que su calidad artística no tiene, creatividad. Todo se suple con el valor del dinero, buenos equipos buen marketing y a funcionar.
Que oscuro lo veo todo.

GARBAGE

Is it possible to market your music without a music representative? Many pages offer you to market your music if you pay a fee and want to make you see that you will win with the marketing operation. Of course, I haven’t found anything that can offer me something with enough quality to be able to invest money in it. I could offer the manager a percentage of the sales of my tracks without any problem. However, it seems that good commercials are only dedicated to expressly said marketing products, that is, those characters who hit the record industry to disappear at a time, like shooting stars. That musical crap that fills the hours of radio, television and social networks, always exposed to the value of marketing being above artistic value, what matters is selling.

—————————————————¿Es posible la comercialización de tu música sin un representante musical? Muchas páginas te ofrecen comercializar tu música si pagas una cuota y te quieren hacer ver que saldrás ganando con la operación de marketing. Desde luego, no he encontrado nada que me pueda ofrecer algo con la suficiente calidad para poder invertir dinero en ello. Yo podría ofrecer al manager un tanto por ciento de las ventas de mis tracks sin ningún problema. Sin embargo, parece que los buenos comerciales solo se dedican a los productos de marketing expresamente dichos, o sea, aquellos personajes que golpean la industria discográfica para desaparecer en un momento, como estrellas fugaces. Esa basura musical que rellena las horas de cadenas de radio, televisión y redes sociales, expuesta siempre a que el valor del marketing está por encima del valor artístico, lo que importa es vender.

I started in the world of music in 1986 professionally speaking. In those nightclubs the music was bought by the owner of the joint and you were content to put what was there. It was not valued if good or bad mixes were made, nor the artistic quality of the dj, it was only valued that the dance floor was full, for which it was necessary to have psychology of dance floor.
That changed in a few years and the dj began to wear his music, vinyls that cost a kidney, but already valued the creativity of the dj the mixtures of two or three vinyls, made the delights of the dance floors. Then you had to have a sense of rhythm, musical ear and dance floor psychology. The beats of the vinyl were adjusted by the dj to be coincident, the harmonic mixture of the ear was sought, since the speed variation of the tracks also varied the harmony. Of course, you never miss the Psychology of the dance floor. That was pure craftsmanship.
Cds started unbanking vinyls, since mixing cds is much easier than mixing vinyl. Technology in search of the mediocre. Cd readers already had the bpm of the track and you could see precisely where the track was located at all times. The controllers were born and the SYNC button was also born. The button that called every in the world to want to be a dj. – —

Empecé en el mundo de la música en el año 1986 profesionalmente hablando. En aquellas discotecas la música la compraba el dueño del garito y tú te conformabas con poner lo que había. No se valoraba si se hacían buenas o malas mezclas, ni tampoco la calidad artística del dj, solo se valoraba que la pista de baile estuviera llena, para lo que hacía falta tener psicología de pista de baile.
Aquello cambió en pocos años y el dj empezó a llevar su música, vinilos que costaban un riñón, pero ya se valoraba la creatividad del dj las mezclas de dos o tres vinilos, hacían las delicias de las pistas de baile. Entonces había que tener sentido del ritmo, oído musical y psicología de pista de baile. Los beats del vinilo se ajustaban por el dj para que fueran coincidentes, se buscaba la mezcla armónica de oído, puesto que la variación de velocidad de las pistas variaba también la armonía. Por supuesto, nunca se pierde la Psicología de la pista de baile. Aquello era pura artesanía.
Los Cds empezaron a desbancar a los vinilos, puesto que mezclar cds es mucho más fácil que mezclar vinilos. La tecnología en busca de los mediocres. Los lectores de cds ya tenían los bpm de los track y se veía con precisión donde se situaba el track en todo momento. Nacieron las controladoras y nació también el botón SYNC. El maldito botón que llamó a todos los imbéciles del mundo a querer ser dj.

Unfortunately it has been infected by the coronavirus. A lapse in my life that whenever I am on the verge of death, makes me reflect on the meaning of my music and specifically what the effort is the work and the help of the muses. He understood that without money my works are hardly listened to by someone like Oscar Mulero, someone with the cabin compartment and whom I lost contact with. I am clear that my music is not listened to, in fact, they have asked me for money just for listening to it and much more money for being broadcast on a radio program and I do not want to think, if it is on television. Every time you listen to an artist on television at the end of the news, the manager of the same payment paid a dough for the primetime broadcast. So why produce music if nobody is going to listen to your music if you don’t invest a lot of money in it? And I meditate, I am an artist and I cannot dedicate myself to a promotion while the muses accompany my feeling. There is something that makes them compatible. Rather, I am clear that without a good manager it will be my heirs who can enjoy my music financially speaking. Still the pleasure of composing and producing must run through my veins. I want to keep moving to the air with unimaginable frequencies even if I am the only one who hears it. Unfortunately I have been infected by the coronavirus. A lapse in my life that whenever I am on the verge of death, makes me reflect on the meaning of my music and particularly what the effort is the work and the help of the muses. I have understood that without money my works can hardly be heard by someone like Oscar Mulero, someone with whom I shared a cabin and who lost contact. I am clear that my music is not listened to, in fact, they have asked me for money just for listening to it and much more money for being broadcast on a radio program and I do not want to think, if it is on television. Every time you listen to an artist on television at the end of the news, his manager will have paid a dough for the broadcast in prime time. So why produce music if nobody is going to listen to your music if you don’t invest a lot of money in it? And I meditate, I am an artist and I cannot dedicate myself to promoting myself while the muses accompany my feeling. There is something that makes them compatible. Rather, I am clear that without a good manager, my heirs will be the ones who can enjoy my music economically. Still the pleasure of composing and producing must run through my veins. I want to keep moving to the air with unimaginable frequencies even if I am the only one who hears it. Unfortunately I have been infected by the coronavirus. A lapse in my life that whenever I am on the verge of death, makes me reflect on the meaning of my music and particularly what the effort is the work and the help of the muses. I have understood that without money my works can hardly be heard by someone like Oscar Mulero, someone with whom I shared a cabin and who lost contact. I am clear that my music is not listened to, in fact, they have asked me for money just for listening to it and much more money for being broadcast on a radio program and I do not want to think, if it is on television. Every time you listen to an artist on television at the end of the news, his manager will have paid a dough for the broadcast in prime time. So why produce music if nobody is going to listen to your music if you don’t invest a lot of money in it? And I meditate, I am an artist and I cannot dedicate myself to promoting myself while the muses accompany my feeling. There is something that makes them compatible. Rather, I am clear that without a good manager, my heirs will be the ones who can enjoy my music economically. Still the pleasure of composing and producing must run through my veins. I want to continue moving to the air with unimaginable frequencies even if I am the only one who listens to it. —————————————————Desgraciadamente he sido infectado por el coronavirus. Un lapsus en mi vida que siempre que estoy al borde de la muerte, me hace reflexionar sobre el sentido de mi música y particularmente para qué sirve el esfuerzo el trabajo y la ayuda de las musas. He comprendido que sin dinero difícilmente mis obras sean escuchadas por alguien como Oscar mulero, alguien con el que compartí cabina y al que perdí el contacto. Tengo claro que mi música no es escuchada, de hecho, me han pedido dinero solo por escucharla y mucho más dinero por ser emitida en un programa de radio y no quiero pensar, si es de televisión. Cada vez que escuchéis a un artista por televisión al final de las noticias, el representante del mismo habrá pagado un dineral por la emisión en prime time. Entonces ¿para qué producir música si nadie va a escuchar tu música si no inviertes mucho dinero en ello? Y yo medito, soy artista y no puedo dedicar a promocionarme a la vez que las musas acompañan mi sentimiento. Hay algo que las hace compatibles. Mas bien tengo claro que sin un buen representante serán mis herederos los que puedan disfrutar de mi música económicamente hablando. Aún así el placer de componer y de producir debe correr por mis venas. Quiero seguir moviendo al aire con frecuencias inimaginables aunque sea yo, el único que lo escuche.

SOUL MUSIC

For a long time I have been waiting for a change in my mood in music. I want music to come into my head and do something, whatever, but something. The feelings of a human being can be found, have several at once, and not know exactly which one is the one that has you trapped. For a producer composer this paradox tempts to make exciting music. However, if what you want is to fill a dance floor, the best thing now is to do regeaton. I do not want to enter ratings. ————————————————————————-Durante mucho tiempo he estado esperando un cambio en mi estado de ánimo en la música. Quiero que la música se me venga a la cabeza y haga algo, lo que sea, pero algo. Los sentimientos de un ser humano se pueden encontrar, tienen varios a la vez, y no saben exactamente cuál es el que te tiene atrapado. Para un compositor productor esta paradoja tienta a hacer música emocionante. Sin embargo, si lo que quieres es llenar una pista de baile, lo mejor ahora es hacer regeaton. No quiero entrar en las calificaciones.