There’s a particular calmness in Sebastián Montenegro’s voice, one that seems to contrast with the synth-driven, danceable pulse that shook the foundations of Niceto Club just a few weeks ago. The echo of that night, where Chromianimbus’s latest live album was recorded, still lingers in the air. It wasn’t just a show; it was the culmination of a transatlantic journey that began in the halls of IUNA in Argentina and finished maturing under the Valencian sun.
Sitting in a corner that could easily be a recording studio or a systems lab, Sebastián reflects on the nature of his creation. For him, Chromianimbus isn’t a band in the traditional sense of the word; it’s a living organism, a platform where engineering and audiovisual art converge to give meaning to years of songs stored away in drawers.
«Chromianimbus was born out of the need to give a color, or a ‘nimbus,’ to a collection of emotions that accompanied me through France and Spain,» he explains with an introspective pause. «I always saw it as a space without borders, where language—whether Spanish, English, or French—is just another layer of the production.»
The story of his sound is, in essence, the tale of a nomad. Influenced by the melodic elegance of Erasure and the epic pop of Roxette, Montenegro has achieved something complex: making technology not a cold barrier, but a bridge. On the Niceto stage, this duality of male and female voices functioned as a mirror of his own multidisciplinary identity.
“The project is a personal vision, but it thrives on colliding with others,” he says, recalling the energy of the Buenos Aires crowd. For Sebastián, being the founder and main composer means knowing when to add collaborations that will take his demos to a new level. He’s a digital conductor who, after the Niceto milestone, already has his sights set on the horizon: the release of the demos for Tomorrow, an album that promises to reveal the creative process behind his “eclectic pop.”
At the end of the conversation, it’s clear that Chromianimbus is more than just music; it’s an invitation to collective celebration. In a world saturated with noise, Sebastián Montenegro has built a refuge of synthesizers and storytelling where, at least for the duration of a song, borders cease to exist.
