HAY ALGO EN EL AIRE  (1990 Taxi Records)

“Hay algo en el aire”
was his first solo album. Published in 1990, it demonstrated Eduardo Laguillo’s ability to fuse classical music, symphonic rock and electronics with great coherence and skill.
The writer surrounded himself with a select group of friends, all of them excellent, well-reputed musicians of the Spanish scene.
This disk was a fundamental point of reference within what was then called “New Age” music in Europe.


“The beauty of the melodies that float in the air of this, Eduardo Laguillo’s first solo work, is maximum. His skill as a composer in the construction of an extremely gentle musical atmosphere is also extraordinary.”


“Laguillo’s sound is eclectic. Reminiscent of oriental, symphonic and classic music, but with the greatest stamp of originality I’ve heard in recent years. Thank you.


I’m not really a betting man, but it’s no stretch for me to affirm that Eduardo Laguillo’s voice insuperably defines that desperate search for identities that some people, after fifteen years of unproductive bumping about, get confused with what’s “new”. He’s a skilful pianist who has brought to Nicoidsky and Gelman’s texts a dimension that perhaps lay concealed, offering a model of unity and harmony that will set the standard for the times to come.”

Luis Martín, critic

"New-Age musicians are basically those who meet the characteristics stated, from musicians who look at ancient music from new perspectives, to musicians who write with the computer and/or who use familiar instruments, like the violin, piano or oboe, from totally unknown aesthetic perspectives. This includes musicians running from Vangelis, Pat Metheny and William Aura to the Greek musician Yanni and the Irish musician Enya. In Spain, Eduardo Laguillo, Luis Paniagua…”.

Ramón Trecet, journalist

“With Hay algo en el aire, Eduardo Laguillo offers us a number of pieces full of colour and lyricism that open up new paths of expression for today’s Spanish music.”
“Laguillo’s performance was masterly, and the fact is that it had the best of everything –professionalism, rigour, improvisation and above all creativity. With an intimacy and a simplicity to which musical stages are unaccustomed, he reeled off pieces from different parts of the world, signified by their transcendent meaning.”

Conciencia Planetaria