“Domene has his own voice that is both in your face and laden with subtleties.” – Mike Borella (Avant Music News)

“Domene continues his virtuosic exploration of the guitar as a tool to conjure soundscapes, induce pure thought via music, and invoke sonic mayhem.” – Ed Keller (Creative Director Venice Biennale)

“Domene’s dispatches from the unknown end of music will resonate with people who have made music their life, who want surprises and seek comfort in the unexplored. After all, that’s a key part of Domene’s story. And for those who vibrate on the same wavelength, they may feel like through Domene’s work, they’ve finally found a home, too.” – Ian Chainey (Stereogum)

Álvaro Domene is a Madrid-born, New York based guitarist, composer, improviser, recording artist, sound designer, producer, and educator operating at the convergence of various styles of contemporary creative music. His sound and compositions are influenced by the avant-garde jazz and western contemporary classical traditions, as well as metal, electronic music, fractal maths, and radical politics.

He has performed and taught internationally, and recently worked with Joe McPhee, Karl Berger, Elliott Sharp, Vinny Golia, Henry Kaiser, Álvaro Pérez, Briggan Krauss, Michaël Attias, Jim Black, Ben Goldberg, Michael Bisio, Sam Newsome, Colin Marston, Mike Pride, Ches Smith, Scott Amendola, Fred Lonberg-Holm, Mat Maneri, Tim Dahl, Weasel Walter, Patrick Shiroishi, Killick Hinds, and Billy Martin, among many others.

He has released over 35 albums as a leader and/or co-leader and is an active performer in New York’s fertile jazz and experimental music scene, leading various groups in addition to working with numerous artists, including the multimedia theater show The Effects of Gravity (with astrophysicist Luke Keller and poet David González, under direction by Lenard Petit), which recently headlined shows at The Egg in Albany and the historic Bardavon Opera House Theatre in Poughkeepsie, New York, and collaborated with the Carl Sagan Center for Research at the SETI Institute.

“Álvaro Domene is an utterly uncompromising, fearless presence on his seven-string instrument contextualized within creative processing and experimental techniques. His work yields outcomes ranging from the tranquil and calm to raging, volcanic intensity.” – Anil Prasad (Innerviews.org)

His work has been positively reviewed by Jazzwise, The Wire, Stereogum, New York City Jazz Record, All About Jazz, RTVE Spain, Brooklyn Rail, Guitar Moderne, El Intruso, Pop Matters, Angry Metal Guy, Tomajazz, The Free Jazz Blog and many other specialized media outlets like Avant Music News, on which a recent release, Synaptic Self” by the trio dMu, was included in the list of  “Best Albums of 2016”. Álvaro’s latest and first solo record, “The Compass”, was a “Recommended New Release” on The New York City Jazz Record, and Avant Music News featured it on their “Best Albums of 2018” list.

“Domene sounds like a frightful demolition team.” – Paul Acquaro (Free Jazz Blog)

[Photo by Peter Gannushkin / downtownmusic.net]

“Domene’s sound sculptures pose questions of emotion, spirit, intellect, the cosmos- and in the end, these questions of sound invite us to act in some way. The sword hangs upon all our walls and in ringing metal it leads to one destination in unison. A ‘land of song’, puissance, voices raised in glorious clamor. In unison against a falling power.” – Ed Keller (aum.aumstudio.org)   

In addition, Álvaro co-runs Iluso Records, an independent record label dedicated to support and disseminate creative new music, also offers audio mixing and mastering services and sound design, and is the artistic director at the Singularity Music Series in Kingston, New York.

“Disarmingly Alien.” – Stereogum

ÁD: I often hear melodies and other musical events simultaneously happening at different tempi, range, direction, stereo location, and correlation to each other at both the micro and the macro level, resembling the self-replicating nature of fractal maths at different magnitude of perspectives. What this entails, for instance, is that the same melody might take the form of a full 5 minute piece but also occur in one single instance and anything in between, and also be manipulated in different ways [pitch transposition of many kinds, tempo, retrograde, granular, rhythmic displacement and mutation, etc] while retaining the structural codependency of all the iterations of said line and its inner cells. Melodies can become a web of decentralized musical cells that have an interdependent logic and structure. – [From the interview with Ian Chainey for Stereogum].