Homenatges was an idea which I developed inspired by the title of a track called “Homenajes” coined by either Adrián de Alfonso, or Sergio Pérez from a DNSR TRN track which I later appropriated and expanded in different forms:

1- A musical project called Homenatges, consisting of Adrián de Alfonso, Rafael Romero and myself.

2-An art exhibition at the Gallery Todojunto in Barcelona — 12/12/08

3-My first solo self-released album on CD-r released on Ozonokids in 2009




Homenatges existed briefly and it was a side effect of the project called DNSR TRN which was originally  Adrián de Alfonso on guitar and electronics and myself on drums and electronics. In 2005 Sergio Pérez joined the project on guitar and synthesizer. We improvised because we wanted to be as loud as possible but were too impatient to organize the output. I  don’t think improvising was ever a conscious decision though. We tried to make “songs” that we replicated live but every time sooner or later the excess of energy swept our focus away.  After a few shows Sergio dropped out and the project went back to Adrián and I. During our studio sessions we would always mix electronics and drums/guitar. This all changed in 2007 when Mark Cunningham joined the project and I ended up focusing on drumming. That’s when DNSR TRN changed its name into Bèstia Ferida.

While doing Bèstia Ferida, Adrián and I kept making music on the side. At some point Rafa Romero joined us and that’s when Homenatges was born. Rafa is a sax player and was really open to experiments. And because Mark gave a more relaxed approach to the way we improvised with Bèstia Ferida, the project became our playground. After a couple years and a few live shows the project disappeared.


During the year 2008 the Barcelona-based Colombian artist Andrea Gómez invited me to do an art show at the gallery space she ran. I had the idea of Homenatges very present and it personally felt like a concept that could be further explored outside the music field. I perceived the idea of an homage as something rather solemn and specific of something that had already been widely accepted or worthy of social recognition. Around then I was self-conscious that my work was persistently treated as not serious or under-developed (perhaps it was) and I was struggling with indifference and hostility. I wondered what would happen if I decided to take recognition away from things that already had the benefits of social status. I wanted to make an homage to all sorts of things even those that were not even considered tangible and it didn’t make a difference to me if these were considered good or bad. I put lots of issues I was exploring in a blender and presented it all unfiltered. In an indirect way the concept of the exhibition became chaos itself and this chaos was directly interconnected with the musical project Homenatges.

The show was originally scheduled to happen during the summer of 2008 but after an accident where I cracked a bone in my elbow I couldn’t work with my right arm so the show was rescheduled to December 2008.

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Unfortunately very little documentation of the show survived. It featured mostly original graphic work I did specifically for the show or around that time — generally water-based ink illustrations (A2’s and A3’s) and a lot of film photographs from my daily life.


In 2009 I released an album recorded between 2008 / 2009 called Homenatges. You can hear or Download it via archive.org — https://archive.org/details/homenatges2009


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