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RTS 101CD
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Originally released in 2004. A travelogue from the Andean landscapes through an electronic lens. Tintin features in this first stage in an ancient/new adventure of spirituality and technology. Iguazú is the first part of a new CD books project which follows Tintin across the world, mixing music with his adventures in one electronic vision. In this case, it's a "Magical Mystery Tour" over hundreds of years of Andean music. Classic songs like "Carnavalito" and "El condor pasa" get a treatment never heard before. You can close your eyes and see Machu Picchu, hear the wind through the ruins, and smell the old carpets of Tiahuanaco. The acoustic instruments have been interpreted by the best Spanish specialists, some were even recorded in a museum dedicated to ethnic instruments. Inside the CD book there is an illustrated history of this culture, filled with interesting pictures about the instruments, clothing, enamelware, and iconography, all of which had a strong impact on the conceptual art of the 20th century, and provided inspiration to many artists, like Mondrian. The leitmotifs of these songs were written in the 17th and 18th centuries and were the fruit of a cultural interaction: the Spanish conquest sent its soldiers, who brought with them the popular songs of the Spanish golden century. These two styles were subsequently mixed together with other melodies of this rare culture. Welcome to the magical world of the Incas, a culture at the source of hundreds of stories about aliens and UFOs: spirit and technology. CD-ROM includes Mac and PC-compatible content.
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CD
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SA 1675CD
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2009 release. Walking through the dense, warm, and brawny textures of old synthesizers. The emotion of a live concert without computers and programming; just the man with the machine organizing the chaos, the unpredictable. The album Macro y Micro Tiempo by Luis Carlos Esteban is a very strange one: it began as a tribute concert idea for the classic electronic bands of the '70s. With time, after hours and hours of playing the repertoire, it mutated and took on a life of its own. Professor Salazar said in his book that fundamental concepts in the history of music have made a big breach between the artist and the audience, indeed, as the facts are developing, this breach will become even bigger, which will lead to a situation where at the end, the art will be a language for artists to communicate with each other. But, there is a "lifeline" for the audience: we must forget the hedonism that has reigned until now. It is in the way of approaching art -- we must go with the chaos and open our hearts to this almost-forgotten language of the cosmos in all its rugged beauty. Open your eyes, ears, and heart, and let yourself go for the real life, the life of inaccuracy and of truth. Come walk between the big '70s synthesizers, the Moogs, the 2600 ARP, the EMS, the Buchla, Voyetra8, Mellotron, the 4 Voices, and touch the music.
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TTO 1301CD
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Cosmolab is the new name of Luis Carlos Esteban, historical character of the electronic pop landscape of Madrid who has been playing synthesizers since 1982 in mythical bands such as Tino Casal and Olé-Olé. For 20 years, he has been a producer and programmer of many of the great artists of the electronic pop of Spain and Latin American scene. From outsider artists like Astrud, Chico y Chica, and Ellos, to megastars like Thalia, they have passed through the hands of this producer and synth programmer. He has also impacted Mexican embryonic electronics groups such as Primer Nivel and La Siguiente Página, who today are the story of the music of that country. He has the best synthesizer collection in Spain with iconic pieces such as the Buchla, VCS3, CS80, 2600, etc. An artist of contrasts, and very interested in the pursuit of quality of sound textures, he worked for several years as a sound engineer for the Reina Sofía Chamber Orchestra and is professor of Electronic Music and Modular Synthesis in Fundación Autor. Cosmolab is a new mystic project that exists in a synthetic, textural ambient flow between noise and the harmony, created with analogue synths and without computers. Improvisation is the main maximum in the construction of his musical material. Bi is the perfect music for a look inside and outside at the stars at the same time. The Bi concept speaks of the polarity of the jail in the human , the self and the other, woman-man, truth-lie, internal-external, and all else that sets us free.
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