El intruso is a comprehensive, collective, pedagogic and contemporary concept for musical creation, production, management, and action. In other words, it is a global redefinition of the approach to the musical discipline. This concept grows and is developed in very different fields:



It is an open collective organized horizontally based on the need to feel the music without restrictions of any kind. It explores the limits between personal and interpersonal freedom; the meaning of public space.  It visits neighbourhoods and places removed from the focus of “official” culture.It turns people into inadvertent spectators, exploring their indifference, their happiness, and their rejection.

El intruso is expectant and is sensitive to its environment.


It regards the creative process as a treasure in itself, with no initial search for a specific aesthetic.It uses the artistic form to contextualize and develop the applications of its projects. Its work occurs in social spaces, it conceptualizes and reinterprets reality, moving generally in the area of Socioplastics.It systematically applies the concept of Relational Art, offering its sensitive space to other musicians/artists, generating collective creative projects. El Intruso’s work happens in real life and is part of it; it is unstable and fluid. El intruso seeks the Beauty in the unknown and immediately shares it, on the street it coexists with the sound of  the city and develops its intervention in function of these  preexistences.


It uses total improvisation and an exhaustive sensitive ear as its musical working method. It constructs its music as it is occurring and its virtuosity lies in the common performance, without previous agreements, in motion, accepting preexistences.


Thanks to sensitive listening el intruso exercises a collective conscious control of the kinetic energy of the air and harmony in function of the space, the audience (voluntary and/or coincidental) and the sound technology it uses. Each space and circumstance requires a different approach to playing and el intruso is conscious of this fact. Churches, streets, forests, rocks, venues, ports, airplanes… El Intruso adapts its sound.


The greatest motivation is that happiness is brought about spontaneously and becomes the main personal objective in each action. What it does makes it happy and it shares that happiness.


It has developed technology in order to enjoy music as it conceives it. This investigation absolves the stage or conventional sound infrastructures and el intruso is able to move freely through space without giving up the acoustic power necessary to generate the atmosphere it seeks.


It flees from the spectacularization of museum art, inverting the roles and turning us into spectators of our own  lives.It saves the spectator the trip and the entry fee. There is no script, there are no orders or prior expenses, and it does not require a specific type of place in order to occur. The investigation and production of the entire body of el intruso’s work is self-managed.


Every  action is registered in a documentary series on the web in which can be seen the people and their everyday customs crossed with the product of our intervention in their lives. The sessions are documented online as witnesses of our action and are shared openly with whomever wishes to enjoy them.



The air envelops everything, we are surrounded by sound.



Actions of the Man-Machine in the city, inside buildings, in the forest, producing a Contemporary Sound Field, exploring the urban and social fabric acoustically and emotionally creating original soundtracks for the city or spaces visited. Every action is unique and is conceived individually in collaboration with the host, combining drift with sessions, poetry, projections, etc.


This is the musical work that serves as a platform for everything else that occurs. It encompasses over 200 sessions with a multitude of guest artists (poets, sound artists, musicians, video artists, sculptors, performance artists…) a few of whom end up becoming “Intrusos”. An environment designed for sonic conversation to be the protagonist.

Free dialogue constructed through live action.


Everything that occurs is documented both on video and as a sound archive and is published  on the web to share the document openly. The documented material is shared with visual artists, film directors, video artists, etc. to be used in their projects.

Culture has its origins in the pleasure of sharing