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www.giltertre.com

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The music of Strand is the result of audio manipulations, produced mainly by real instruments, processing them digitally and placing them is software surroundings such as Reaktor or Max/Msp.
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The music of Strand (Miguel Gil, Madrid) is the result of audio manipulations, produced mainly by real instruments (guitars, wind instruments, violins…), processing them digitally and placing them is software surroundings such as Reaktor or Max/Msp. All of it is considered a process of search where the possibilities of the software to create emotions and beauty from the materials and tools of the riskiest music is explored.
Besides the material included in diverse compilations ("Upload Folda" and "Download Folda" from the Plataforma-ltw, Sónar 2003, Zona de Obras nº36 or "POPvolume#4" of Popnews), Foehn Records edited in 2002 the CD "Domestica_04", signed jointly by Polaröide_Strand, a surprising work of sonorous minimalism and melody, complex and fascinating.
His first CD as Strand is "Paz" (Foehn Records, 2003), a brilliant exercise of risk where digital elements and nature coexist, along with acoustic instruments and programming, in order to endow content and conscience to the purely synthetic. The result is a juxtaposition of opposite environments that meet and separate, in between calmness and sonorous hostility, creating an organic album full of different shades and pop-experimental orientation, which places him amongst the most interesting artists of the electronic national scene.
Strand works as well in the visual field with similar arguments to the ones included in his music, manipulating real images with modular programming languages such as Jitter and creating like that a visual synchronized with sound response.

www.giltertre.com

 
 
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  • Polaroïde_Strand: Domestica_04 (CD, Foehn Records, 2002)
  • Strand: Paz (CD, Foehn Records, 2003)

 

 
 
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"In 'Paz', Miguel Gil as soon as he leaves place for the rest, between clicks, wild rhythms and voices that appear, disappear and they superpose themselves. From 'Soy petróleo, soy la muerte' (the beginning) to 'Osborne Ruddock' (the end), the torrent of polirhythms and sounds gone away of the computer are making a carpet in which the timid voices put the organic and emotional touch." (MUZIKALIA)

 

 
 
 
   
 
     
 
 
 
   
     
 
 

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