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At the heart of this highly spiritual ecosystem, Ignacio Maria Gomez

composes then a “channeled music”, that is to say the expression of a superior to oneself at the source of the inspiration as of the improvisation. Like so many attempts to find the way back and to translate the nuances of the beauty of the world, Ignacio sings in a revealed language inherited from Belesia, close by its materiality to the icaros of the Amazon shamans, but also to Malinké according to a musician. that he meets in Guinea. And because music transcends the conscious and the verbal, religions and borders, time and space, Ignacio assembles the sounds collected during his travels: silence, night, marimba and balafon, guitar, polyrhythmic trances, curves bossa nova or samba syncope.

- Jeanne Lacaille 

Press extracts (contact us for the international press)

"A remarkable first album of ethereal folk"

- Patrick Labesse  (04/01/2021)


“You have to be sinister not to perceive the healing power of sound, which has been healing bodies and souls since long before music was engraved on wax. " 

- Jacques Denis (08/01/2021)

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"The unpredictable voice sung in an indefinite shamanic language becomes hypnotic when the texture recalls Caetano Veloso or Bobby McFerrin" 

- Alexis Campion   (12/20/2020)

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“Belesia, (...) is the product of these syncretic peregrinations, which he opens on Vincent Segal's cello, Ballaké Sissoko's kora, Naïssam Jalal's flute and Loy Ehrlich's viola. (...) Their acoustic reveries draw the outlines of a new peaceful world, bathed in the waters of samba, Argentinian chacarera or Caribbean dances. We float there almost amniotically, not far from exotic and yet strangely familiar shores. " 

- Anne Berthod  (02/12/2020) - Chronicle Album (FFF)

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