All of this seems to me a pantomime, I realize I'm out of my mind. I'm not afraid to crossing the lightning ring, but I feel weird when I see the red line.
Architecture of the absurd-Under a black cloud
I´m a guitar player obsessed with searching new formulas to express myself musically.
As a musician I have a strange ability to transform the simple and pretty into weird and odd, which can actually be a bit scary.
My initial stages in the guitar world were at the beginning of the 90’, as part of local bands that mostly focused on rock and progressive rock. The band Tattoo Tucum, which I co-founded, created some interest within several independent discographic labels at the time.
After a few years, I got in contact with the Jazz-Funk scene, being part of some bands like Guateque All Stars. With them, I participated in a few recordings, like their last album Technicolor, and multiple live concerts, not only with the band but also with many artists within the hip hop arena, like Frank T or the Danny Panullo Dance Theatre company.
In 2001, I started collaborating as a columnist in the very prestigious magazine Total Guitar after having been named “guitarist of the month” in one of the magazine’s issues. I did interviews, wrote news in brief on concerts and full sections on prestigious musicians like Pat Metheny, Mike Stern, David Fiuczynski, Jack Bruce, Steve Howe, Paul Gilbert or Steve Morse, and bands like Red Hot Chili Peppers, Tool or Mastodon. My work as a collaborator in specialized media currently continues with ISP Magazine. In it, I performed tests and auditions for the Gibson guitar brand.
A big influence for my music is the progressive rock from the seventies, with bands like Frank Zappa & The Mothers, Gentle Giant or King Crimson
In 2008, I recorded my debut álbum Rotonova, with collaborators such as Mike Keneally, Bryan Beller, Dean Brown, Damian Erskine or Charlie Dennard. The album has a great reception in specialized national media (Guitarra Total, Guitarrista) and international (Guitar Player Magazine, Jazz.com). That very same year, he gets in contact with Blues-Soul organ player Mauri Sanchis, and starts being part of Mauri Sanchis’ Super Band with whom he performs in Festivals like San Javier Jazz Festival or Blues Cazorla Festival. From this partnership, Razl participates in the recording of the album by Mauri Sanchis´ Modern Organ Trio What did you expect!
In mid-2010 I start recording my new album Microscopic together with Nashville-born bass player Bryan Beller. From a casual encounter with New York guitar player Will Bernard, regular guitarist in Stanton Moore’s trio, he is invited to play as a guest in one of the tracks of the album
In Microscopic, I radicalize my sound and focus on the trio composition, although with more orchestration and guitar arrangements as a musical background.
Architecture of the Absurd gathers influences from bands like Vander Graaf Generator, Gentle Giant or King Crimson. It filters them through a Mr. Bungle strainer and performs in an imaginary Cirque Du Soleil.
In 2013 I start recording a new album with Architecture of the Absurd together with Lorenzo Matellán. Architecture of the Absurd is a Prog Rock band, the same kind of rock that motivated thousands of avid brains to join a musical movement that enclosed everything. That undefined rock, with no boundaries or limits. That rock that laughed at the world and at itself, a delicious caricature of music.
The presence of the extraordinary (and no less weird) drummer Marco Minnemann has given Beluga an extra push. His participation in the project has taken the band to give a step forward in their musical intentions, strengthening them with a rhythmic weight only comparable to the power of the engine of a stellar spaceship taking off.
The last tier of this intricate network has been Damian Erskine, virtuoso bass player who has perfectly understood the fevered and damaged minds of L. Matellán and Razl acting as the perfect glue between the uncontrollable pulses of Marco and the incoherent musical methods of Architecture.