The band joined in Algeciras in 1985 and then, in 1986, their founders
Francisco Valdivia and Jesús Acosta, former member os Sem Tob moved
to Madrid to join the rest of the band. They recorded two demos, the
second one (Ooah Ri Mai)being released in cassette format by the label
Mind Child of Angel Romero, who also released the first Galadriel work.
Ty-jir music was a fusion of different styles like rock, jazz and
progressive, with influences like Peter Gabriel, King Crimson, Genesis,
and Peter Hammill among others. Ty-Jir mantained a close relation in
Madrid with the band Galadriel, even sharing
rehearsal room. A number of musician collaborated with Ty-jir, like the
drummer David Elorriaga (Nacho Cano, Pato de Goma, Klonikos).
In 1990 the band disolved and their singer Francisco Valdivia returned
to Algeciras after recording some solo demos and retook his classical
During the 90s, Pablo Chavarri and Juan Carlos Samper worked together
in the Jazz-Rock Progressive bands Laberinto (91) y A Través del El
Espejo (94). Then, Chavarri joined Pop-Rock bands like Sopas del Mundo (95) and Alvan Brito (96), and assited to the Robert Fripp's Guitar Craft
courses, together with guitarrist "Manuel Macía
and David Póveda. Together they formed the trio guitar-craft
Toma Tres. In addition he has worked with other line-ups including
Berlin Zoo in 1996 (with "Manuel Macía and David Póveda), Bobo (96), and Onion (99).
Koldo Barroso joined Experience (95) with
"Manuel Macía, and also in some solo projects
like the albumm Open (97) with other Ty-Jir members like
Juan Carlos Samper, Marco Vieira, and Pablo Chavarri. With
Chavarri also formed in 1998 the electronic project Virus (98),
recording the EP The Rhythm Cant Be Wrong, and has produced a
number of projects oriented to experimental electronics and ambient
with the name of Kotanoise.
After the split of A Través del Espejo, Juan Carlos Samper has played
in bands like Menos Mal (96) and in 1999 formed the Jazz Rock/Fusion
band Enredo, still alive. In addition he has recorded solo projects in the
Jazz Rock context like Don't Disturb (97).