Rhythms are derived from minimal techno, dub, glitch, industrial music and IDM, and are often aligned around a 4/4 beat.

Besides his personally initiated albums, Corona worked as Murcof on the 2008 commission project The Versailles Sessions, in which he reinterpreted recordings of a baroque ensemble.

At the age of eleven (1981) Corona was introduced to electronic music by a friend of his father's who gave him a tape of Jean Michel Jarre's Oxygène.

Soon afterwards he got fascinated by electronic‐classical crossover through a present from his father, an album on which Jon Santos plays Bach on a classic Moog synthesizer.

From 1992 to 2000 he worked in a nursing agency that dealt primarily with the elderly and terminally ill in San Diego (USA).

[9] Whilst in Sonios, Corona also engaged in other musical co‐operations like Elohim (1994‐1995), an experimental multimedia group, and Arvoles (1995‐1997), an acoustic‐ambient crossover project including a female vocalist.

Upon hearing Xenakis’ Oresteia, plus later Pleiades and Metastasis, as well as Ligeti’s Lux Aeterna his perception of music altered immediately and drastically.

[10] Some of the other composers he became interested in where Igor Stravinsky, Wolfgang Rihm, Giya Kancheli, Arnold Schoenberg, Morton Feldman, Giacinto Scelsi, Sofia Gubaidulina, Alfred Schnittke, Luciano Berio, Krzysztof Penderecki, Stefano Scodanibbio (piece: Voyage That Never Ends).

[6][8][failed verification] Corona took his electronic experiments in a more extreme direction, playing with feedback effects to create walls of noise.

And the at that time freshly emerging glitch genre initiated by the Raster-Noton label (formed in 1990 by Alva Noto, Frank Bretschneider and Olaf Benders (byetone)).

[5] Early 1999 Corona leaves Sonios to fully focus on his solo electronic project Terrestre, for which his goal was to bring together the worlds of ambient electronica, pre‐Hispanic music and other ethnic sounds.

Nortec's objective is to blend traditional Mexican norteño‐tex‐mex border culture with electronic dance music and visual projections.

[9] In 2001, during his Terrestre activities, Corona's Murcof project comes alive out of the need to explore modern classical territories, like the holy minimalism of Henryk Górecki and Arvo Pärt and the post‐modern atmosphere of Valentyn Sylvestrov.

In 2002, whilst experimenting with digital effects on samples of Arvo Pärt and Morton Feldman he creates his first Murcof track: "MF Relay", a track with glitchy minimal techno percussion, a synth drone and "sliced and diced" samples from orchestral percussion, choir, piano, strings and woodwinds.

[8] Somewhere around here Corona started to listen to Deathprod’s electro‐acoustic free improv (jazz) band Supersilent, particularly their releases 4 (1998) and in later times 6 (2003) and 7 (2005).

The pioneering "MF Relay" track did not become a part of Martes, but was published, also in 2002, by Context Free Media (label by multidisciplinary artist Seth Joshua Horvitz) on the Monotónu 12”.

Martes received an almost instant universal praise from well-known magazines like The Wire UK and consecutively Murcof got to play at festivals like Montreal's Mutek and the next edition of Sónar.

[14] A friend of Corona's, Argentinian Latin‐crossover composer and multi-instrumentalist Gustavo Santaolalla, was involved in the production of Nuevo, an album of Mexican compositions performed by modern classical string ensemble Kronos Quartet.

Other commissions included music for a Heineken commercial focused on the Latin American market (US, 2002), an Edwin Jeans commercial (JP, 2002) the documentary Iraq - Counting the Cost (UK, 2004), a trailer for the Edinburgh Film Festival (UK, 2004), Barratt Urban Development (US, 2004), Valencia Biennale (2003).

Mexican electronica netlabels Mandorla, Cyan Recs, Umor Rex and Soundsister caught Corona's around this time attention.

[19] The remixers were Sutekh (Californian multimedia artist Seth Joshua Horvitz (Sutekh) of Context Free Media), Jan Jelinek (German experimental minimalist who released on labels such as Berlin's ~scape), Deathprod (Norwegian ambient noise composer Helge Sten, who earlier produced Motorpsycho), Icarus (UK based experimental electronica duo Ollie Bown and Sam Britton), Fax (Ruben Alonso Tamayo, Mexican minimal techno producer and co‐founder of Static Discos), Aeroc (Geoff White, melodic IDM producer releasing on the renowned electronica label Ghostly International) and Colleen (the French Cécile Schott, sample transforming and cello playing colleague from The Leaf Label).

It contained processed sounds of Tijuana street musicians, which Corona "reduced to a pulp of post 9/11 paranoia".

The Murcof aesthetic moved a bit away from minimalism towards more complex and melancholic harmonic progressions, slightly reminiscent of his prog-rock past.

It included samples by Speedy J, Jake Mandell, Plaid, Telefon Tel Aviv, Atom Heart, Murcof and other artists.

It was a spacious dark ambient record which included dense walls of textures (hinting at Ligeti), abstracted sounds of synth pioneers, intense climaxes and on some tracks glitchy dub and techno beats.

Texturally they explored the instruments by throwing all sorts of material inside the harpsichord and pounding on the viola da gamba's body,[23] capturing a wide range of timbres, giving Corona many composing options.

Two weeks before the opening Corona went to the site wanting to get an impression of the sound, but could not make the necessary tests due to pouring rain.

Early 2008 Corona was commissioned by the Contemporary Music Network of England to create the live audio-visual Océano show for a UK tour.

[25] Live instrumentation was served by Spanish classical ensemble BCN 216 and consisted of cello, viola and trombone.