About the guys I play with

Sebastian Mahle:

The singer, the showman, the drinking machine. I met him a few years ago when he still was a kid. He and his little friends had a rock band and played Megadeth covers. He has that 80's young hard rock voice I always wanted for my songs and knows how to get to the audience, so I must say I consider myself lucky to have him in my team.

Ivan Carranza:

My right hand. Without his assistance there wouldn't be a united band. Always remembering everybody all those things I forget and calling me to let me know the bad and good news. Punctual as a swiss clock and responsible as a japanese nerd, when he says he's gonna do something, you can consider it done. He's usually a quiet simple guy, but when we're about to play, you better shout your mouth and get out of his way if you don't want him say bad things about your mother lol.

By the way, he's got a cool bass guitar doesn't he?

Gabriel Iwasaki:

How many musician drummers do you know? I mean, you know guys who play the drums, but I'm sure most of them don't know a crap about harmonizing, song writing, musical arrangements and all that theoretical stuff. I actually know 2 of those musician drummers, and he's one of them. Good to have him around if you're up for learning something new.

Random facts about The Unbreakable Spirit album

- Back off was written when I still was at school.

- There was supposed to be an instrumental cover of somewhere over the rainbow, but it was replaced for At the Gates of madness.

- When the fairies are knocking at my door wasn't supposed to be on the record. It was just a song for my girlfriend I recorded after a fight, but she left me after that anyway so I decided to include it since it represents an important part of my past.

- At the Gates of madness was written one night I was drunk in front of a piano.

- Through the eyes of a sad man was a different song called "wake up" and had different lyrics and no chorus.

- Mr. Businessman's composition was finished one day before recording it.

- There were two songs I couldn't finish because I had no more ideas left, so I combined them in one song: The Unbreakable Spirit.

- Eternal Traveler replaced a song we couldn't finish recording because the invited singer never showed up.

- Eternal Traveler was written with all the ideas I didn't use for The Unbreakable Spirit and the lyrics were written the day before the singer recorded the vocals.

- When the fairies are knocking at my door's vocals were recorded 3 different times because I was never satisfied with the sound of my voice until the sound engineer refused to do it again.

- All solos from I was born to lose were improvised in the moment I recorded them.

- The abyss of our minds is the only song I wrote in which I just sit and watch.

- I wrote The Unbreakable Spirit one night I was looking for an excuse to avoid studying for an exam.

Decalogue of the perfect musician

This is actually something that Horacio Quiroga wrote under the title of  "Decalogue of the perfect storyteller". I just changed a few words to make fit into this particular kind of art. I think it's so good and precise that he should have named it "Decalogue of the perfect artist". Anyways, here it is:

I. Believe in a master - Hendrix, Beethoven, Blackmore, B.B. King - like in God himself.

II. Believe that your art is an unreachable goal. Don't dream about dominating it. When you become good enough, you'll get it without knowing it.

III. Avoid copying as much as you can unless the influence is too strong. The development of a personality requires patience.

IV. Have blind faith - not in your skills for triumph - but in your desire to reach it. Love your art like a girlfriend giving it all your heart.

V. Don't start writing without knowing from the first melody where you go. In a well written song the first 3 notes are almost as important as the last 3.

VI. If you want to express with precision the next chord progression: "Am - G - F", there is no better way to do it than that. Once you become the owner of your musical phrases, don't worry about cheking if they are supposed to sound good or not.

VII. Don't fill your compositions with senseless solos or melodies. It's useless to reload a weak note. If you find the precise one, it will have enough weight to stand on it's own. But you have to find it.

VIII. Don't beat around the bush. A simple song is not a symphony and a symphony is not a simple song. Keep this in mind as an absolute truth, even if it isn't.

IX. Don't write under the empire of emotion. Let it die and summon it later again. If you get to recreate it exactly as it was, you have walked half of the path to your art.

X. When you write a song, don't think about your friends or what others will think about it. (I added this part: Write your songs as if the only thing that mattered was your personal opinion. If you like it, others will too).