Andrés Satué was born in Galicia but now is based in Barcelona, he is a sound engineer with an extensive career in musical experimentation. He founded one of the first math-kraut-rock and prog bands in Coruña, Lendrone, then switched to experimental electronics with his previous project Esquelas. Now is currently working on experimental electronics too with his project, Huma, and most recently under the alias Kosu Nes.

He has released several albums under labels including Bestiarie, ENSMBLE, Matapadre, and Opal Tapes. He participated in the Red Bull Music Academy Bass Camp in Madrid and played at some of the most relevant Spanish experimental electronics festivals like Sonar, Primavera, MIRA, Mutek, Fanzine, WOS,etc.

He is co-founder of Hedonic Reversal label, where he has released most of Huma’s records alongside releases of artists such as Orphan Swords (Belgium), Plaktilts (Japan), Olor Acre (ESP) or Death Whistle (ESP). He is also the founder of Bicefal Festival where artists like Samuel Kerridge, Vessel, Mohammad, Territoire, Cut Hands, Trepaneringsritualen, etc. have played. Additionally, he has also directed for years a monthly radio show with his label mate Miguel Sueiro in Dublab Barcelona. He also composed the soundtrack for the silent movie “Man with a Movie Camera” from Dziga Vertov, within the Cinetronik project that was presented in Madrid and Sevilla.

The sound of Andrés has consistently orbited around noise and chaos, with its profound influence evident since the outset of his career, notably in his initial Esquelas EP “Inciso”. However, it’s in his latest Huma work, “Hyperchaotic,” released on Opal Tapes, where this relationship with noise takes on a more profound significance. Here, he delves deeper into the realms of chaos, exploring its intersections and complexities with a newfound intensity.

Now as Kosu Nes, he is working on a new project called “Liminal Creatures,” which takes shape as a series of audiovisual raw ideas that mix artificial intelligence processes for video and audio generative tools for music. “Liminal” is often associated with spaces such as Backrooms or Liminal Spaces, popularized on YouTube. The term alludes to the state of openness and ambiguity characterising the in-between phase of a tripartite space-time. Consequently, surreal environments are created, evoking ambiguous emotions by mixing familiarity and nostalgia with an underlying sense of unease.Additionally, he has almost completed another project that relates traditional music, especially flamenco, with a hyper-synthetic, noisy and maximalist sound. This project is slated for release this year on Alhaja Records, a new label that champions flamenco and experimentation.

He was selected to attend the workshop on artificial intelligence applied to music generation at the prestigious laboratory of the Pompeu Fabra University in Barcelona, the well-known MTG (Music Technology Group), where they have developed projects such as Reactable or Freesound, with the aim of learning and incorporating new methods of composition and music production based on the latest trends and tools of artificial intelligence.

In 2025, his track “Shift Betwixt” was shortlisted in the “No Frontiers” category of Raster-Media’s Soundtrack Europe 20_25 competition, the legendary German label, from among more than 3,000 entries. It will be part of a compilation album curated by Raster, scheduled for release later this year.

Drawing from his expertise in project management, audio engineering, music production, and label management, he presently serves as an Operations Specialist at BMAT, a globally renowned music monitoring company. During his tenure spanning over 8 years, he has played a pivotal role within the Venues team, contributing significantly as a product and business development manager.