Within a sustained listening regime, inside a soundscape of shifting densities and transforming timbres, the guitars, expanded through Autoimpro, pour out layers of suspended sound, transpositions, and granular processes that displace harmonic content toward a timbral matter colored by paraharmonies, unstable aggregates, resonances, and impossible chords. This continuum enters into exchange with percussion that traverses the territory of dry attacks, frictions, and broken materials shared with the guitars, but also that of the deep resonances of drumheads and the brightness of bells.

Tapping, glissandi, staccati, drags across the strings, harmonics, and broken sounds articulate a constantly mutating matter. And, paradoxically, from this mobility emerges a strangely stable sense of time. Even in moments of greatest activity, the music avoids haste. Fortuitous ostinatos, occasional  synchronizes, and almost melodic lines arise, are interrupted, and dissolve among dry and reverberant planes. Density oscillates. Space contracts and expands. Sound objects draw near and recede; they never remain at the same distance. Within an environment of shaped unpredictability and controlled risk, the orchestral coexists with the minimal. Like boiling magma that has not yet erupted, meaning does not settle: it emerges, sinks, and reappears, in continuous transformation, from the telluric depths of listening.

Credits