He started playing covers with a band called La Marioneta Eléctrica which then in 1973 became a trio, Queso Sagrado, influenced by free jazz, progressive rock and experimental music, with Luis Rojas Lefort (drums), Hector Candanedo (bass) and Alex Eisenring (piano, guitar) as the founding members. The band had many different line-ups and instruments, even having up to 13 musicians at the same time.

Alex was eager to adopt an electronic style for the band however his partners disagreed, that's why in the same night of 1981, Queso Sagrado was being dissolved giving its last live show while Syntoma was being formed by him along with Silvia Candanedo and Bernardo Gonzalez, performing its first live show. Allegedly [m1577327] was the first techno music ever made in Mexico.

Around this time, by seeing the inaction of major labels around indie Mexican rock projects, Alex felt motivated to intervene more as a producer to help promoting the underground music scene, that's how he started out some collaborations with Size, Vector Escoplo, Iconoclasta, Mamá-Z, Culto Sin Nombre and Decibel, among others. Due to this lack of economic support, there was a multidisciplinary collaboration of different artists with their different projects not only with music, for example many musicians did also design, production, illustration, photography or typography for other colleague bands and artists, making very interesting concepts of musical styles and influences, art, culture and multimedia.

In 1985, upon the disbandment of Syntoma, he also began to learn computer programming and building, mainly as a job, but with the aim of having a high-tech recording studio of his own and as a perhaps cheaper way to obtain a Synclavier or a Fairlight CMI: homemade. He began then to work as an engineer out of necessity, as there were no engineers specialized in experimental and electronic styles. In 1992 the first digital recording (with no tapes) in Mexico was being made in his home studio by his project Subsuelo, co-founded by Alex with Victor Méndez and Arturo Romo.

In 2010, after being around twenty years inactive, just working in 3D animation, video editing and graphic design, he was invited by Walter Schmidt and Carlos Robledo to collaborate with Decibel. By 2012 they were performing for Georges Méliès short films live projections as well as other silent short films from surreal cinema movement.

In his most recent projects he co-founded, with Carlos Vivanco after his return to Mexico from being in NYC around thirty years, Bardo Thodol and Kathmandu ensemble.