What to make of an album with such a title? But this one-sided LP turns out to be a brilliant excursion into the world of electroacoustic sound. This has some of the air of the classic musique concrete sessions of Paris in the late 40's/early 50's, but where fascination with process at that critical moment seemed to overpower the composer's imagination sometimes to the point of silliness, here the aesthetic is never divided. The purity is impressive, the composition always unfolding in lushness, layer after layer, the composer's intent: a cinema for the ears. With the apparent ability to capture alien sounds, most of which seem like they are actually created using everyday objects, or tiny musical instruments, with such intimate presence and in many different environments, Blindhæð then refashion these sources into a remarkable sonic painting! Totally absorbing and listenable to over and over again on this pristine vinyl. I can't say enough about this fascinating album, but for my noisehead friends, there is no violence here, just the languid rise and fall of sonic textures like water lapping shores.

La première référence proposée par le label Ini.itu (dont la particularité est de ne proposer que des vynils en éditions limitées à 250 exemplaires) repose sur une seule et unique pièce proposé par Blindhead. Elle prend donc une seule face, laissant vierge la seconde, comme un espace libre mais vide de toute substance. La pièce qui nous intéresse est basée sur un minimalisme électronique expérimental à la limite de l'opaque. Pour autant opaque, ne veut pas dire une absence de toute nuance. Parce que, en somme, cette longue pièce d'un peu moins de vingt minutes n'est faite que de ça. Un assemblage abstrait de diverses sonorités retravaillées électroniquement et créant par là même un espace multiforme et contemplatif. Les références assumées à cette compositions sont présentées comme étant Steve Roden, Asmus Tietchens ou Iannis Xenakis. Si nous ne sommes guère étonné, on ne pourra que louer le travail de création de Blindhead qui prend toute sa dimension en l'écoutant au casque ou alors dans une pièce qui vous permet de n'entendre aucuns bruits extérieurs. «Un cinéma pour les oreilles», voilà comment Blindhead définit cette création qui lui a pris six mois de sa vie. La formule est bien trouvée car l'accumulation et l'association de ces différentes sonorités donnent cette impression cinématographique où le microsound et un noise maitrisé font merveilles. Et comme le suggère le titre du morceau, la musique de Blindhead serait-elle également un travail archéologique ? Une archéologie des sons, il va s'en dire. Cela se pourrait bien. Un travail de mémoire pour ne pas oublier les sons qui nous entourent et qui sont les témoins de notre époque. Dommage que, dès lors, Blindhead soit aussi discret.

Toute première sortie de la maison ini.itu, ‘Whether that will…’ date de 2008 – oui,
déjà. En toute honnêteté, elle est aussi la moins convaincante des quatre sorties
présentées dans ce Love On The Bits du mois. Reposant sur une superposition
de couches sonores travaillées sur de longues périodes – d’où la référence à
l’archéologie dans l’interminable titre, les sonorités ont ensuite été soumises à une
série de distorsions, analogiques et numériques, qui lui donnent son cachet frisquet
de toundra automnale. Terriblement référencée – ses auteurs se revendiquent de
l’héritage de Iannis Xenakis, la patte du mystérieux combo laisse de marbre, en dépit
d’un matériau sonore de base identique à celui retravaillé par Francisco López – et
pour cause, c’est Blindhæð qui les a fournies. L’expérience ne dépassant pas le stade
d’une seule face de vinyle, rien ne vous empêche d’écouter pour nous prouver que
nous avons le plus grand tort.

Термин «индустриальная музыка» уже давно превратился в абстрактное понятие, ибо он объединяет стили, которые практически не имеют ничего общего. Ну что может быть общим у power electronics и martial или синти-попа? А ведь люди ухитряются относить и первый, и второй, и третий стили к индустриальной музыке. Впрочем, я не собираюсь начинать дискуссию об уместности использования того или иного понятия. Просто я все это написал для того, чтобы сказать, что хоть «Стигмата» и посвящена индустриальной музыке, но пишем мы в основном о конечном наборе стилей и подстилей. И происходит это из-за того, что в сутках всего 24 часа, а у человека всего два уха – соответственно, прослушать всю музыку просто невозможно. Увы…

Среди стилей, о которых мы практически никогда не пишем, имеется и minimal industrial. Не пишем мы о такой музыке по ряду причин. Во-первых, пульсации нашего внутреннего мира редко резонируют с минимализмом. Во-вторых, уж слишком много нынче на рынке мусора, который нескромные композиторы называют музыкой. Почему-то считается, что достаточно «собрать» на компьютере пару-тройку «полевых записей», чтобы все умерли от восторга. Сходил парнишка на прогулку к железнодорожному вокзалу – получи альбом с грохотом колес и гудками тепловозов, сходил в лес – слушайте скрипы елок и писки ебущихся белок… Увы, слишком уж часто молодые композиторы путают минимализм с примитивизмом…
Так вот, давно я собирался написать о неплохой пластинке, которая довольно разительно отличается от обычного «минималистичного» мусора. Итак, поприветствуйте бельгийский коллектив под названием BLINDHÆÐ! В самом конце прошлого года наши новые знакомые выпустили пластинку с длинным и загадочным названием Whether That Will Make People Want To Become Archaeologists, We’ll Have To See. Вот о ней и поговорим. Самую минимальную малость. Итак, как я уже сказал ранее, BLINDHÆÐ создают минималистические звуковые ландшафты, в основе которых лежат «полевые записи» – всякие там синтезаторы, вокалы, барабаны и прочие инструменты отсутствуют полностью. Подобно трудолюбивым паукам BLINDHÆÐ плетут паутину своих композиций, состоящую из звуков окружающего мира, изо всех его шорохов, хрустов, скрипов, тресков и перестуков. Многие сравнивают звуковые ландшафты бельгийцев с работами ASMUS TIETCHENS. Безусловно, такого рода музыка не для каждого. Безусловно, нужно иметь особое ухо, для того, чтобы услышать в переплетении звуков окружающего мира гармонию и органическую мелодию. Безусловно, если вы любите лаконичность, то Whether That Will Make People Want To Become Archaeologists, We’ll Have To See принесет вам только положительные эмоции.
Добавлю также, что альбом вышел в формате одностороннего 12” винила, а общая продолжительность композиции – примерно 20 минут. А еще музыку BLINDHÆÐ
Можно послушать вот на официальной страничке группы или вот здесь.

Single sided LP from this Belgian ensemble of broken ambience and massively digitised micro-clusters of sound. 
The name (which uses Icelandic characters and which they don't mind you writing as Blindhaed) is equivalent to 'blind spot' which is an interesting analogy to the sounds they make.  While the music isn't wholly unpredictable, the place where it starts is, to all intents and purposes the place where it ends, it does take a series of intriguing twists and turns along the way.  I've not been exposed to a huge amount of this sort of micro-sound work so I'm guessing a little here but my impression of the genre was one of utter, finicky, anally-retentive control.  Of never letting the sound escape the strictest of confines of the paradigm.  Here that doesn't seem to be the case.  Blindhæð allow their sounds a significant leeway in terms of how they evolve often abandoning the template all together to expand into noisier (if not quite noise) territories, My favourite part seems to involve someone stirring a cup of tea.
I like this record very much indeed.  Generally my tastes are towards music with a more organic feel but ths one caught me and took me to places I don't normally get to hear and that was fun.  It's a shame it's a single sided release as I'd have liked to hear more but it isn't and that's fine also.

In 2008, ini.itu inaugurated its label with a single-sided LP containing a twenty-minute, micro-sound excursion by Blindhæð (Blindhaed, if it's easier), an outfit that took its name, which roughly translates as “blind spot,” from the Icelandic language (the letters æ and ð are unique to it). That the release is saddled with the unweildy title Whether that will make people want to become archeologists, we'll have to see suggests that the creators responsible for the material aren't averse to allowing a dash of wry humour into the proceedings. Constructed from layers of natural sounds that were subjected to analog and digital manipulations (“distortions and erosions,” specifically), the piece itself feels like a journey across frozen tundra—bell tones pierce the brittle air, cavernous rumbles swell in volume, assorted creatures chatter, and distant planes fly overhead—in a way that may remind listeners of the work of Asmus Tietchens or Steve Roden. Transitions through multiple low-level episodes occur organically, and the listener's attention seldom wanes as the piece moves through terrain that seems alternately welcoming and threatening.

LP Feature/ Blindhæð: "Whether that will make people want to become archaeologists, we'll have to see"

Digging for truth and treasure: The line of demarcation between concretion and confusion is turning increasingly unstable.

There are, roughly, two views on the purpose of music. One of them is highly stylised and breaks down the acoustic world into metaphors of rhythm, harmony and melody (think Beethoven). The other sees sound as a malleable material uniquely capable of bringing out the artistic qualities of the objects around us and telling us something profound and meaningful about the relationship between ourselves and the outside world (exemplified by the alliance between 20th and 21st century Sound Art and field recordings). And then there are expressions which fall in between these two poles – the music of Blindhead, for example. While it makes use of concrete sounds recorded at various locations, it also subjects them to  hands-on manipulations as well as several stages of digital transformation. And even though the idea of capturing aspects of reality as closely as possible is pervasive here, the musicians are also regarding the desire to minutely grind and polish these artifacts through the process of composition as something decisively inherent to the homo musicus.

This deeply felt wish to transcend the rigid borders of different aesthetic propositions has translated into a musical language comfortably bordering the lands of microtonality, musique concrete and contemporary composition. Elements are both left in their raw state or deformed beyond recognition and the original context of field recordings is either respectfully accepted in one instant or brutally ripped apart in another. Instead of making radical juxtaposition the goal of their endeavours, the band however place seminal importance on gentle transitions while maintaining the diverse nature of their motives: Almost pathological concentration takes over from showstopping virtuosity. Generally subtle and quiet dynamics are combined with powerfully sculpted bass noises of great plasticity. Sounds of a spoon softly beating a glass and of bells ringing quietly are presented in various transitory states, until they smooth out into subcutaneous, glassy drones. Motives are presented, vanish and reappear according to an unspeakable but entirely convincing logic. And throughout, the line of demarcation between concretion and confusion is turning increasingly unstable. Was that a short brush of white noise or the wind rustling in the leaves? Animal croaks or laptop crackles? As transparent and minimalistic as this galaxy appears at first, repeat listens only bring up new layers of disturbance and previously undiscovered structures of complexity instead of unraveling the secretive organisation underpinning the album.

The act of arranging these outwardly simple scenes into a complex psychedelic flow of associations is therefore the principal artistic ambition here. By returning to the work at different points of time, Blindhead have effectively turned even the most spontaneous impulses into precise coordinates and consciously alienated themselves from what used to be personal outings. The title of the record likens this technique to excavation, but it is the audience, rather than the artists, who, through wide-awake listening and active immersion, resemble archeologists digging themselves deeper and deeper into the soil in search of truth and treasure. As a listener, you need to engage with this piece, consider nothing given and allow your first impressions to be utterly disproved.

No wonder, then, that Blindhead cite Steve Roden, Asmus Tietchens and Iannis Xenakis as inspiration: All of these figureheads of electronic music, after all, interacted with music on a highly physical level, while taking their vision to the intangible pantheon of ideas. Which is not to say that this album sounds anything like them. Paradoxically it is the discreet pace, hazy mystery and serene elegance of the work which sets it apart. The presentation of „Whether that will make people...“ as a one-sided LP reinforces this self-confident image: There are no hidden messages, clever punch lines or ironic twists here. After the needle has returned to its starting position, you are left with no refuge or relief, just a lot of nagging questions and the sensation of having just experienced something profound and meaningful.

Abstraction! The sleeve of this one-sided 12” thanks the Dutch airline KLM for flying the band to Indonesia , where (one must assume) the source sounds were collected for this record. This is a nice deep-listening hodgepodge of objects processed with a computer (as this is the way of contemporary musique concrète). You'll hear taps, thumps, scrapes, distorted twinkling bells, echoed atmospheres and slow ringing tones, and while it's carefully assembled there's nothing particularly direct about the presentation. If you want excitement, look for the dadaist collages of the Bohman Brothers or maybe Matmos; this is a different perspective entirely. A recording like this rewards patience and though it occasionally oversteps the electronic effects it's generally on the right side of a long balancing act. I do question the need for going to Indonesia to gather source material, when you could probably just look in your own kitchen cupboard and find household objects to make similar sounds. There's nothing 'ethnic' about the sounds on this record, so maybe this was created as a document of their experience. Fair enough – Blindhaed's sonic archaeology is a much more beautiful travel memento than, say, uploading a bunch of photos to Flickr.

Длинное название и черные спирали односторонней пластинки представляют первый релиз лейбла «ini.itu», один трек от бельгийского проекта «Blindhæð». Это эмбиент в исполнении людей, которые не имеют синтезаторов, зато умеют слушать окружающий мир, вычленять из общего хаоса звуков интересные фрагменты и сводить их вместе, выстраивая в однородный звуковой пейзаж. Музыканты манипулируют с микрозвуками, в которых легко узнать журчание небольшого ручья, передвижения насекомых, шум травы, колыхающейся на ветру, шуршание и потрескивание палочек и листьев – все многообразие жизни, которую не каждый удосужится рассмотреть, представлено в этой тихой, по весеннему теплой, я бы даже сказал, «интимной», работе. «Человеческая» жизнедеятельность представлена здесь несколькими нотами, извлеченными из флейты и спрятанными в ворохе шорохов и шумов. Параллели можно провести с работами Джефа Джермана (использование природных объектов и общее настроение) и Стива Родена (создание особенной атмосферы, может быть, той самой «интимности», когда слушатель остается наедине с тихими, неосязаемыми созвучиями). Хорошая пьеса для тех, кто ценит полевые записи, и очень ценит, когда из них создают реально интересные вещи. 

As far as poetic titles go, Blindhaed wins. This single-sided LP, with almost twenty minutes playing time, carries the illustrious title "Whether That Will Make People Want To Become Archaeologists, We'll Have To See". As strange as it may sound, that title very well captures the music.
Blindhaed creates an experimental form of musique concrète, meaning they get sounds from all over the place and create their art with that. The sounds are used either in a straightforward or heavily manipulated manner, and this is where the title hits the proverbial nail on the head.
While the promo-sheet talks about the time it took to interpret the original sound, you can also see the archaeology reference in the title for the recognition aspects within the music. Like in archaeology, where a stone can be a flint axe, a spear point, or more practical as a grindstone for wheat, in the same way the clicking sound can be a manipulated bamboo straw, bells to alert the beginning of prayer, or more earthly: teaspoons in an empty stone mug previously filled with coffee.
The result is twenty minutes of highly artistically responsible sounds, which is for some people more interesting than for others. The guts it takes to release a single-sided LP in the era of CDs and MP3s is extremely praiseworthy and a larger future is ahead of this Belgian/Indonesian collaborative effort. Though in all honesty, I must admit that this particular release will not be my personal favorite.

-- Bauke van der Wal [7/10]

Tarsi miškingo ežero pakranteje letai tabaluociau kojomis viršum vandens, sededamas ant apšerpetojusio, seno liepto. Tarsi dregnoje šilumoje kurktu gyviai. Tarsi Maži Daikteliai patys savaime slampinetu, bumbsetu, skleistu ivairiausius nedidukus garsus, kuriu pilna šioje plokšteleje, prasidedancioje lyg aušciau suminetu Mažulybiu audio dokumentacija ir peraugancioje i organiškus field (ar inner) recordings, padengtus plonu ambientines nuotaikos sluoksniu, barškejimais ir tom paciom ivairiausiom smulkmenybem. Kai kuriu garsu šaltini imanoma nuspeti, taciau šiame kontekste tai nera trukumas – barška stikline, na, bet kas paskys, kodel ji barška – Whether... LP tai skamba kaip savaiminis procesas, galbut ikveptas keisto Gaivalo iš Indonezijos (plokšteles voke minimas faktas apie skrydi ten). Šioji atmosfera man primena Jan Švankmajer ar jo pasekeju Brother Quay filmus – kur ištisas palepinis daiktelynas knebžda, iš pakampiu skleisdamas raminanti bruzdejima, o keistas šviesu virpejimas krinta ant sienu. Faktas, kad LP vienpusis, irgi turi savito žavesio, kurio nesistengiu paaiškinti logiškai. Daugiau konkretumu galima atrasti paciame leidyklos puslapyje >>> www.iniitu.net – etnines sasajos, girdimos iraše, pasirodo, nera mano išmone. There are many ways to be here and there.

Like dangling legs slowly above water in a wooded lake coast, sitting on old burred foot-bridge. As if beings would croak in wet warmth. Like Small Things would lounge around, flump and emit various little sounds. This lp is full of such. Opening with audio documentation of above mentioned Smalness, proceeding to organic field (or inner) recordings coated with thin layer of ambient mood and rattle. Some sound sources could be guessed, but it's not failing in this context. The water-glass is clattering but who would say why is it clattering? Whether.. LP sounds like spontaneous process, perhaps inspired by strange Element from Indonesia ( there's a fact mentioned about a fly there). This atmosphere reminds me films by Jan Svankmajer or his followers Brother Quay – where the whole heap of things infest in a loft, spreading calming disturbance from the corners, and some weird light shake drops on the wall. The fact that this lp is one sided gives a charm, that I cant explain logically. More concrete information one can find at labels' website: www.iniitu.net – it appears that these ethical connections aren't my artifice. There are many ways to be here and there.

RATED: 8,5 / 10 

Eroded and layered sound recordings delivering an organic sounding piece.

First a small side step.
There are two types of historians: those who study human history. These are divided in historians (to keep it easy) who study mainly written material, and archaeologists who study non-written material like human remainders, pots and coins of old cultures. And then there is the historian who studies natural history: a geologist. An example of one is a palaeontologist who does research on fossils of plants and animals (and other small organisms).
The archaeologists and palaeontologist are often mixed up and with this I would like to clarify this big difference.

I hear everyone thinking now: WHY???
For explaining that we will now turn to the album Whether That Will Make People Want to Become Archaeologists We’ll Have To See by the Belgian act Blindhæð. This album consists out of field recordings which during a period of six months have been processed and layered.
The music on this single-sided 12” reminds me somehow of the Kapotte Muziek By release that was done by Five Elements Music that was reviewed here at EARLabs earlier by Jos [See here], but where that has a more urban and industrial sound here we hear something organic. Whatever the sources of the sounds are, it is being eroded to something natural sounding.
The sound oozes and cracks in and out. The piece sounds as if created by random manipulations, but probably has been well thought about. In the piece you can hear a slow development which shows the layering over time. New layers are fading in while others fade out. Because of this the piece becomes really diverse while also showing continuity.

Now getting back to the introduction part, where the title makes hints towards archaeology I would rather hint to paleontology. The layering of the music and the organic sound hints to stratigraphic sequences (the layers of different stone types through time, to keep it easy) instead of human history. But besides that, I can say the result is well done. The people who enjoy music constructed from field recordings can safely get this album and won’t be disappointed.

by Phil  from Norman Records

Onto the catchy Blindhaed with their 'Whether That will Make People Want To Become Archaeologists, We'll Have To See'. It's actually by Blindhæð but as most of you won't have keyboards that can deal with that we've called 'em Blindhaed just to prove were always thinking of you, the nimble fingered searcher. It's only 3 tracks (and 1 sided!) and like I say it's quite pricey but you can blame the euro for that as it's completely decimated the pound (as has pretty much every other currency ....we'll be a third world country soon at this rate...). This is limited to 200 copies and it's yr avant garde deconstructed sounded field records/ general fuzzy wierdness which I kind of like in small doses. At times it sounds like some disembodied techno and you can imagine it on the Raster Noton label.... other times there's the electronic insect thing going on.... now I can hear glass being tinkled while it's blowing in the wind. It's a veritable feast of sounds which will either excite you to the point of mass public spuffing or you'll want to stove someone's face in for making you listen to it. It's a real marmite of a record. All hand numbered in silver pen and this is deffo for those with experimental leanings like.

by Frans de Waard  on Vital Weekly 649 

My keyboard is limited, so the presstext allows me to write Blindhaed, but in Vital Weekly 621, when I reviewed a MP3 release on Ruidemos, I wrote Blindheao. Its Icelandic, for what its worth, and it means something like Blind Spot. Their second release is an one-sided LP, why not two I immediately think, with again a lovely long title. "The piece is based on an accumulation of layers of sounds which were reworked during quite long periods of time", it says, and makes references to Tietchens, Xenakis and Steve Roden. I'd like to add Werkbund to these references. The slight metallic rumble, the same subaquatic sound processing, the debris of contactmicrophone rumble. It seems to be dealing less with field recordings, and more with the electronic layering of various concrete actions and sounds, which shift along eachother in quite an intelligent way. One can sense that there is quite some time and effort in this piece, since it flows subtle and moves into various different textures. A
pity there is just one side. I could have easily digested another side of this. (FdW)

by Sarah Vacher from Ruidemos

(French version)

( Spanish on Ursonate0 )

Blindhæð, ami de l'exploration, de l'aventure et de la recherche sonore, nous présente à cette occasion un morceau de presque vingt minutes qui fait s'écouler des sons minimaux par des sentiers inouïs. Cheminant sur un terrain vierge, exquis et plein d'originalité il enchaîne tout au long de cette nouvelle création des tas de tout petits sons étroits, courts, fins, clairs ou obscures, les uns derrières les autres et en superposition, comme des lames transparentes ou des petits morceaux de verre qui assemblés en trois dimensions composent quelque chose de grandiose, une forme de puzzle compact, vaste et riche en sensations fugaces, ou une structure ouverte qui depuis tous ses angles et replis permet une vision précise de la multiplicité de couches superposées et découpées avec une habilité méticuleuse. C'est sous ce raffinement et une importante variété tonale que l'artiste belge nous peint son oeuvre .

Loin de lui cette fois l'épouvante d'un bruitisme perçant, mais remué par une douce animation de marche naturelle, il déploie ce paysage ambiant en attente d'une nature vivante dont on perçoit continuellement l'essence. Dans sa conformation il ratisse une faune mystérieuse et éclectique composée de grattoirs abyssaux, rayonnements pointus, sables serpentants, poids grumeleux et points de satin qui battent leurs pouls sous l'épiderme et se déplacent petit pas à petit pas sinueusement, frôlant des vieux tissus, roulant sur de petits tremplins, dessinant de moelleux reliefs, sectionnant des détails, levant des ombres et léchant des cours d'eau et de la terre sèche. Parfois, il nous dirige vers des souvenirs de lieux étrangers, hochets d'une autre civilisation, puis reprend rapidement mais avec distension son vol libre atemporel proche et abstrait qui vise la profondeur avec un immense sens de l'observation et une curiosité sans bornes au sein du son. Des tracés miniatures concrétisés par des mouvements tactiles électro-acoustiques se font ainsi moulés par de prudentes mains dans la création d'un monde en équilibre stationnaire."

by Sarah Vacher from Ruidemos

Una única pieza de casi veinte minutos de duración da título a esta nueva obra del genuino Blindhæð, que siempre encuentra una senda novedosa por la que discurrir y, de camino, llamar nuestra atención a
cada pisada. Amante de la aventura y la exploración, y de una aproximación científica a la creación, nos ofrece en esta ocasión un horizonte lleno de virginidad y exquisitez siempre desde el pulso mínimo. Y originalidad, hasta los huesos.
 
Bajo un profundo miniaturismo sonoro que encadena sonidos diminutos, estrechos, cortos, finos, claros y obscuros, a modo de láminas transparentes o pequeños trocitos de vídrio que ensamblados en tres
dimensiones conforman algo grandioso, una forma de puzzle compacto, amplio y rico en estímulos y sensaciones, una figura dilatada que desde
todos sus ángulos y recovecos permite una nítida visión de la multiplicidad de capas superpuestas recortadas con minuciosa habilidad, junto a una importante variedad colorística y tonal, nos pinta
mimosamente su obra el artista belga.
 
Lejos de lo tremebundo, en un suave fulgor de natural marcha y un fondo de sosiego, despliega este paisaje ambiental expectante de naturaleza viva, nunca distanciado un ápice de lo más esencial. Rastrea, en su conformación, una misteriosa fauna ecléctica que va desde rascadores abisales a brillos puntiagudos, desde arenas serpenteantes a pesos grumosos y puntos de satén, que laten a ras de piel y se mueven pasito a pasito sinuosamente, rozando viejas texturas, rodando por pequeños trampolines, delineando suaves relieves, seccionando detalles, levantando sombras, orificios, destellos, y lamiendo cursos de agua,
tierras, vacíos y arideces bajo remotos rayos de sol. A veces, nos dirige hacia recuerdos de tierras extrañas, sonajeros de otra civilización, y vuelta a los cercanos remiendos que mece este alta mar de ensoñaciones y vuelo libre atemporal desde el que se divisa hondura,
fuerzas ocultas, tensa calma, afilada y alarmante transitoriamente, distendida casi siempre.

En un avance prudente que denota una inmensa agudeza observadora, vibraciones y movimientos tactiles electroacústicos son tocados con
extraordinario refinamiento, densa habitabilidad y abstracción. Una forma sigilosa de aproximación que le lleva a curiosear sin parar en el seno del sonido, deslizando su mano por mil facetas en la creación de un mundo en equilibrio estacionario.