In April 1984, he published an ethic and aesthetic manifesto on Tintin´s style "ligne claire" (clear line), in the Madrilenian postmodernist magazine La Luna.

[2] The text caused controversy and anticipated a new polemic emerging in October on the occasion of "Tintin Imaginary Museum", exhibition organized by Fundació Joan Miró in Barcelona.

In 1988, he published his essay Tintin, Hergé… y los demás,[5][6] which is considered today as a precursor text and one of the best written synthesis on the narrative and aesthetic work of the Belgian master.

[1] Progressively, he became surrounded by the grand musicians needed in each occasion, depending on his own musical evolution: Olivier Chauzu, Adán Latonda, Gonzalo Rabasa, Jordi Pinyol, Albert Anguela, Félix Arribas, Daniel García, Costanzo Laini, Donato Goyeneche,[10] Tomás Álvarez ... among others.

[11] For two years, he fulfilled a giant musical work, producing, adapting and transforming more than thirty songs assembled in two main blocks “Tiempos” and “Latidos”.

[15] His current interests concentrate on videoclip:[16][17][18][19][20] the first and second were made together with the producer Javier Cano, the third with the photographer Ignacio Cerezo and the fourth one, a jingle-soundtrack with the firm Posovisual.

The works featured by a very pure sound, in acoustic and minimalist format, in the singer – songwriter style, paying special care to the dynamics.