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Progressive Electronic • Spain

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Girón biography
Girón is the more intimate side of Tomás Fernández Girón, a Spanish multi-instrumentalist and composer with a long musical career, who has been touring around Europe, South and North America during the last several years as a bass player. Girón reflects the most space, ambient and psychedelic influences of bands from the Seventies such as Pink Floyd, Tangerine Dream, Cluster, Klaus Schulze, Ash Ra and Tim Blake.

While Girón's debut album from 2014, `Forest', encompasses elements from the above mentioned artists, there's a darker, melancholic sound drifting through this work, especially due to many sparse moments of lonely despondent piano, but there's sudden outbursts of real joy and playfulness as well. It contains lengthy Berlin School atmospheres, creeping sequencer patterns, distortion, brief tasteful dance beats and rising and falling whirring synth washes, but avoids the `cosmic' clichés that are often found on these albums, and best of all, the low-key production gives it a very fragile, beautiful quality.

Girón and his album `Forest' are both highly recommended!

Bio by Michael H (Aussie-Byrd-Brother)

Girón official website

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GIRÓN discography

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4.00 | 3 ratings
4.00 | 2 ratings

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GIRÓN Reviews

Showing last 10 reviews only
 Stones by GIRÓN album cover Studio Album, 2015
4.00 | 2 ratings

Girón Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Electronic composer Tomás Fernández Girón delivered a precious and heart-breaking little Berlin school-influenced electronic gem back in 2014 with his first album `Forest', and he returns here with a superb follow-up `Stones'. Girón's debut had an instantly identifiable and distinctive style with its restrained ghostly piano and sparse lo-fi production, but `Stones' frequently takes on a warmer, carefully melodic and even more accessible purer prog-electronic and ambient sound that retains his unique musical personality, yet subtly incorporates and embraces his musical influences more. The eclecticism of Vangelis, the aural horizons of Klaus Schulze, the approachability of Jean-Michel Jarre, the wasted haze of early Pink Floyd and the comforting tones of early Steve Roach softly broaden his sonic palette here, these elements bringing a more grand and richer warmth to Girón's foggy, mysterious and sometimes introverted atmospheres.

Girón's trademark weeping wisps gently pierce constant ebbing hums on perfectly titled opener `From Outer Space' that subtly draw closer around wavering other-worldly steady synths that call to mind Jean-Michel Jarre without becoming overly commercial or tepid in the way his albums often did. Delicately cinematic echoing and chiming distorted electric piano shimmers ring through the pristine and protective `Giants Causeway' as Tangerine Dream-like trickling sequencer patterns emerge, only to almost vanish completely into the distance with just a pulsing beat and approaching Mellotron caresses to return to life in the finale.

Pretty and playful submerged crystalline twitches ripple throughout `Aerolights', where soothing `Structures from Silence'- like blissful synth breezes are teeming with life and joy, and feedback-soaked guitar distortion and drowsy Pink Floyd-ian slide strains from guest musician Vako bring mystery and shade to twinkling sunlight sequencer trickles in `Quartz'. `Ode to a Suiseki' is a lulling synth drone where the electronics take on a violin-like melancholic reaching quality, and the album closes on a near seventeen-minute live performance. Not merely some bonus track (it fades in before the previous piece finishes, so perhaps giving it a proper name might have been better!), the deeply hypnotic and spacey `Live at Hackforgood 2015' offers reverberating lulling analogue synth themes full of an aching yearning, slowly introduced buoyant trickling beats and whirring groaning Mellotrons chasms.

`Stones' is a showcase of restraint and lightness of touch from a fiercely intelligent artist, achieving a perfect balance of modern and vintage sounds, refusing to simply offer `more of the same' by remaking his first work. Allowing for his influences to seep in without ever merely imitating their styles has opened Girón's music up in interesting new directions, and despite that pristine, melancholic flavour that permeated his debut being stripped back somewhat, this one still retains the fragility and darkly romantic moods, just balanced a little more with lighter colours. It's another deeply human, wounded yet impossibly hopeful musical statement, and `Stones' is one of the best electronic releases of 2015, further evidence of the unique progressive electronic/ambient voice Tom's Fern'ndez Girón is bringing into the world.

Four stars.

 Forest by GIRÓN album cover Studio Album, 2014
4.00 | 3 ratings

Girón Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars How fitting that on the day that the world lost Tangerine Dream's electronic music pioneer Edgar Froese I should be reviewing an album and artist that takes his defining styles and sounds of electronic/Berlin School music and offers his own unique, exciting and very personal take on the same traditions in a way that Froese would no doubt have been immensely proud of. Spain's Tomás Fernández Girón's debut album `Forest' from 2014 may share the same kind exploratory ambience and space music adventurousness as the early Tangerine Dream, Cluster, Klaus Schulze and Ashra works, but there's a darker, more melancholic and deeply human sound drifting through this work, especially due to many sparse moments of despondent piano throughout the electronic ambient soundscapes.

One thing that makes `Forest' instantly stand out is that it avoids some `cosmic' clich's that are often found on these sort of `space music' albums, even the title suggests something more grounded, which makes the music easier to connect with and relate to on an emotional and personal level. Even so, there's something just a little...`off' in parts, slightly unnerving throughout this album, and it creates a very surreal and conflicting mood! This slight edge and uncomforting quality makes Girón's music about as far from unoriginal, pretty hero worship as you can get, and the sparse low-key production gives the album a very intimate and real fragility.

Opener `Cross The Line' weaves lonely heartbreaking piano behind reverberating machine hums and weeping synth cries, sequencer patterns creeping in and constantly building in urgency. `Inside the Forest' and it's reprise later on incorporate distortion, whirring machine oscillations and a maddening ticking beat that scratches at your nerves, Tomás' delicate piano notes cutting straight to your heart. An almost darkly romantic piano melody carefully dances over drowsy fuzzy washes throughout `Deep', with pressure drop rising and falling electronic waves, and skittering loops that race headlong into pulsing dance beats. The album then unexpectedly closes with moments of real joy throughout the dreamier and carefully sweet closer "Outside the Forest" by way of playful sequencer beats, trilling synths and warm electronics washing over the listener.

Recorded live in the studio during November of 2013, limited to a now likely sold out run of 100 CD copies, `Forest's lengthy Berlin School atmospheres, relentless sequencer patterns, sombre drifting piano ambience and even brief tasteful pounding dance beats ensure a perfect balance of vintage and modern electronic styles. It's an incredibly accomplished debut album with a very distinctive sound, and with mention of an upcoming second album already in the works, the ambient/electronic genres have an exciting and original new artist to keep an eye on with Tomás Fernández Girón.

Four stars for `Forest', a deeply personal favourite album for me from 2014.

Thanks to aussie-byrd-brother for the artist addition.

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