Óscar Moreno

A sound engineer, producer, and teacher responsible for works that have been included in the best albums of the year lists on multiple occasions, his career has been reviewed in international press outlets such as The Wire, Quietus, Rockdelux, Mondosonoro, El País…

He has done recordings and mixing for works by Ana Curra (Parálisis Permanente, Alaska y los Pegamoides), Manongo Mujica (Perujazz, Alan Courtis), Terje Evensen (John Paul Jones, Leo Abrahams), Scott McCloud (GVSB, Agrio), Mark Lanegan (Queens of the Stone Age, Screaming Trees) and a huge number of artists of all kinds of styles and nature, covering a multitude of genres ranging from pop, rock, punk or hardcore, through avant-garde, electronic and experimental music, to jazz, Latin music, flamenco, world-music or folk.

His productions have been released by labels such as Universal Music, Everlasting Records, God Unknown, Broken Clover, Buh Records, Sonido Muchacho, Raso…

He has worked firsthand with some world-class producers, with credits on albums by Jack Shirley (Deafheaven, Oathbreaker, Amenra…), Paul Corkett (The Cure, Placebo, Nick Cave, Björk, DNA…), Barry Sage (The Rolling Stones, New Order, The Exploited, Crass…), Javier Almendral (Corcobado, Fangoria, Manta Ray…), Javier Ortiz Fulton (McEnroe, The New Raemon, Alcalá Norte…), and Carlos Hernández (Pereza, Carolina Durante, Los Planetas or Triángulo de Amor Bizarro).

He has worked as a live sound engineer at FOH for New Day (Amparo Llanos's project from Dover), Olivier Arson (Territoire), Jaime Urrutia, Tito Ramirez, Le Parody, and others. His live sound has been enjoyed at international festivals such as Roadburn Festival, Download, Veranos de la Villa, Suma Flamenca, WOS, Dan_tz, and Zarata Fest. He was the Head of Sound Engineering at El Juglar in Madrid for many years and has also provided sound for some of the city's most iconic venues, including the Círculo de Bellas Artes, Conde Duque, Matadero Madrid, Cine Capitol, Sala Nazca, El Sol, Wurlitzer Ballroom, Siroco, Moby Dick, Gruta 77, and Rockpalace. In addition to his work as a stage monitoring engineer, he has gained experience in technical production, serving as a hand, runner, and stage assistant for stadium shows featuring artists such as AC/DC, The Rolling Stones, Robbie Williams, Miley Cyrus, One Direction, Turnstile, Enter Shikari, and Watain.

In the film world, he has worked as a recording, mixing, and sound design engineer for award-winning and renowned directors such as Irene Gutiérrez, with nominations at the Rotterdam Film Festival for “Diarios del exilio” (Diaries of Exile), and winning the 70th Berlinale Award and the Gijón Film Festival Award for the film “Entre perro y lobo” (Between Dog and Wolf) as best Spanish feature film of 2020. He also worked with director Victor Checa on “Esquemas de los tiempos futuros” (Schemes of Future Times), a film that won the Movistar Award at the Lima Film Festival in Peru in 2021, and mixing Julian Génisson's film “Inmotep,” which won the Panorama Award at Las Palmas de Gran Canaria and the New Waves Award at the Seville Film Festival in 2023. 

On the more experimental side of audiovisual, he was part of the sound process of the piece by Elias Merino and Tadei Drolj “Synspecies”, which won awards in various competitions and was presented internationally in different countries through Node Festival, Sónar, Mutek, OSA, Nova SAD, Mapping Festival and Nemo Biennale.

As a musician, he has been part of influential bands on the national scene such as La Débil and Nudozurdo (among a long list of other names in various instrumental roles) and has been the live bassist for contemporary composer Rhys Chattham, an original member of La Monte Young and a close collaborator of avant-garde artists such as Glenn Branca, Tony Conrad, and Steve Reich. He has performed on prestigious lineups at festivals such as Primavera Sound, BBK, Sonorama, SanSan Festival, Sonikas, and Esmorga.