I provide a comprehensive music and sound solution across media platforms, combining creativity, expertise, and a passion for storytelling to elevate every project and deliver lasting impact.
I am Cristian Estrella, an octopus born in Buenos Aires and currently based in Europe. I love to explore the interplay between different areas of communication: music, video editing, radio, graphic design and the beauty of nature. I have a true passion for interconnecting, working closely with other colleagues involved in creative projects - examples being a band, a t-shirt company, a record label, and online radio. I am excited by the possibilities of constant change and development, research and tools. My priority and end goal is always quality within cooperation.
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The first single of my collaborative musical project. The amazing mexican guitar player Gustavo Jacob has recorded his tiny and melodic sounds. I was in charge of the other instruments and the videoclip edition, entirely with royalty free clips.
The city of Banská Štiavnica has decided to create a website along with a network of touchscreen displays providing information that offers a fresh perspective on the city’s history. The creative studio Gashpar has been commissioned to provide music for the animations, record voiceovers in Slovak, English, and Hungarian, and undertake the final sound editing.
I was invited to participate in the Game Jam Createc ’22, which took place in Ibiza, Spain. Is it possible to create a whole game In just 48 hours, between people who never met before?
To answer this question, I joined an amazing team with: Ian Dorado (programming), Matthieu Le Page (3D art), and Juan Carlos Leao (character design). My goal was to compose the music and sound fx. I used traditional local folkloric riffs and instruments, giving them an electronic blend with the help of some vsts.
“Juancho is in a rush: a dangerous volcano has erupted and its lava is covering everything in its path. In order not to become a roasted long-tail, our hero will have to run as fast as he can. On his way, he will go through a cave full of obstacles, he will come face to face with the threats of the forest, and finally he will have to avoid obstacles on his way along the beach. His hyper-secret weapon: jump, jump, jump.”
https://line-a1.com/portfolio/juancho-no-se-rostizara-en-ibiza/
This work is part of the audiovisuals created for the project Almazia, City of Culture, Slovakia.
I was in charge of the music and sound treatment for this short movie directed by Andy Gašpar.
This album was composed with the support of the Hudobný Fond 2020 grant in Slovakia and released in March 2021. Conceived as a sonic tribute to the UNESCO World Heritage town of Banská Štiavnica, the music translates its lakes, historic architecture, and surrounding forests into sound, capturing the town’s shifting atmosphere and moods.
Produced entirely with virtual instruments and layered with field recordings, the work is structured into three interconnected sections—The Tree, The Bird, and The Wind—designed to be played simultaneously from separate devices, allowing listeners to generate their own spatial audio experience. The piece is also accompanied by an evocative music video that expands its visual narrative.
Created during a period of social distance, the composition explores the dynamic cooperation found in nature, where the wind becomes both vehicle and song, carrying stories and resonating from within the listener.
Poisseau is a collaborative performance piece created for the ‘Women and Water’ program at Les Bains-Douches Contemporary Art Centre in Chauvigny, France.
The work was realized by composer Cristian Estrella (ARG/SK) and visual artists Christiane Candries (FR) and Sally Annett (FR/UK). It unfolds as a live dialogue in which the gestural painting of Candries and Annett responds directly to an original musical work, composed by Estrella during a residency at the Atelier de Mélusine in La Trimouille, France.
Poisseau explores hybrid identities through the figure of a liminal being: a flying creature, half fish and half bird, that transcends the realms of water and sky. The performance constructs a fluid narrative where auditory and visual elements are inextricably linked, each displacing and defining the other in real time.
Composed, mixed and mastered in Spain for the project “Polar sounds”, Cities and Memory in association with The Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research, Helmholtz Institute for Functional Marine Biodiversity (HIFMB), and Ocean Acoustic Research Group at AWI.
Scientists have placed underwater microphones to record the audio from living species and geological processes in the Arctic and Antarctic. The aim is to highlight the impact in the regions due to the climate change.
With the fundamental idea of using the soundscape as a painting to bring different elements together, It Rises All Nectar joined a new call from Cities and Memory, the global sound rescue project based in Oxford.
The birds were originally recorded in the Nature Reserve at London Gatwick Airport, London’s second largest airport and the second busiest in the UK after Heathrow. Gatwick has 75 hectares of woodland, grassland and wetlands inhabited by hundreds of species of mammals, birds, insects and bees.
The birdsong was segmented by frequencies and then sequenced. It coexists with Javi Alcalá’s Spanish guitar, piano, and digital versions of a celesta, violins, violas, clarinets, pads, basses, wolf howls, the sound of water, and electronics that highlight the change of moods.
The lyrics appear in spoken words format, and refer to the awareness of our aquatic condition. It is intended as a wake-up call for the care of water, and is articulated with sounds from a branch of the river Hron, in the small village of Nová Baña (Slovakia), where the composer lives.
“The vacant throne in the sky is that unreachable, utopian place, for which it is worth taking care of our life on earth, which is the only real and concrete thing we have. Our armour beats on this plane, inviting us to take action”, adds Cristian Estrella.
About the featured artist
Javi Alcalá was born in Barcelona in 1984. He completed his higher studies in jazz guitar at Musikene (San Sebastián) in 2011, and completed his training with a master’s degree in jazz guitar at the Amsterdam Conservatory in 2014. Some of his teachers include Jorge Rossy, Guillermo Klein, Perico Sambeat, Jesse Van Ruller and Martijn Van Iterson. He currently complements his activity on the Barcelona jazz scene with his teaching work at the Montmeló municipal music school.
This single is the fifth release of the collaborative project with which Estrella builds creative bridges with artists from all over the world, and joins previous works with Ramsés Luna (Mexico), Pedro Amodio (Argentina), Ivana Mer (Slovakia) and Gustavo Jacob (Mexico).
It was composed in Carcassonne (France), recorded in Barcelona, and mixed and mastered in Plovan (France).
Once again I had the pleasure to contribute with the Oxford-based project Cities and Memory. The aim was to compose a piece with the soundscape of the waterfall.
The field recording inspired me to create a two-octave digital instrument, sampling different fragments, isolating them to find stable frequencies, and then pitching them to reach the corresponding notes. The idea was to make the waterfall “sing”. Then I added a pulse coming from the same soundscape, with a similar method, and some synthesizers to help me create the dreamy feeling. Finally, the virtual string instruments of the BBC orchestra completed the work.
Goðafoss, meaning “waterfall of the gods,” carries with it a tale of tranquility. When Iceland was initially settled during the 9th and 10th centuries, the majority of its inhabitants were Norwegian, adhering to the Old Norse faith and venerating deities like Thor, Odin, Loki, and Freya. However, as of AD 930, the pressure to adopt Christianity began to mount from Christianized Europe.
By the year 1000 AD, it became evident that Iceland risked invasion from Norway if it clung to its pagan beliefs. The pivotal question was deliberated at Þingvellir, the annual meeting place of the Icelandic parliament. The legislator at the time, Ásatrú, a priest of the Old Norse religion, found himself facing a momentous decision.
He spent a day and a night in silent contemplation beneath a fur blanket, beseeching his ancient gods for guidance. Ultimately, he emerged from his vigil and declared that, in the interest of the people, Christianity would become the official religion, but that those who adhered to the old ways could practice their faith in private.
Ásatrú then returned to his home in northern Iceland and cast idols of the Old Gods into the waters of Goðafoss.
https://line-a1.com/portfolio/sounds-from-iceland-asatrus-prayer/
Commissioned by Carol Robinson, during Les Saisons Contemporaines at Le vieux château de Vicq-sur-Breuilh, I was responsible for the sound and visual recording, as well as the subsequent editing and audiovisual post-production, of her composition “Pitter-Patter,” performed by Laurence Chave on percussion, with sound design by Charles Bascou.
Comissionned by Vanvelvet Studio (the cinematic motion design agency based in Barcelona), I was in charge of the sound design for this piece, premiered at San Francisco, California, in November 2023.
AI VERSE is an artificial Intelligence services provider, from UNIVERSAL TECHNOLOGY SOLUTIONS associated with the platform GitHub.
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