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Llinas fades the line between his written and improvised music. Digs into rhythmic, simplistic & art song aesthetics. A colorful array of instruments that often invite to audience to wonder on the source of the sounds that are given to the performers abilities. Through spaces these choices and inherent suggestions explore the timbre and instrumental techniques. A distant South American landscape might be a rumor, a deconstruction of traditional dances. These dances take shape in a progressive intensity inspired by cultural melange.

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EN REMOLINOS

Someone walks over sleepy leaves that have fallen dry on the pavement. The autumn breeze is felt and it is in that spin of that minimum wind that the waves of this evocative, Balkanic, multiple and surprising record arrive.

At a distance there is unrest of exotic instruments and the voices that lay on a new language (barely perceived) as if centuries joined us through the word: In the echo of that cliff, children circle dance the songs we all learned in the far away homeland that should now return; Childhood.

It has the clarity of the water, the sonority of a quiet lake; the coin that strikes a wishing well in which

“the vortices” propose to listen from the bottom, the listener lurks as if looking at the impassive window;  They jump just like that, as perky waters with eternal baptisms, the notes, the reverie, the woods, the metallurgy of six strings that go in fandango.

There is chase and search and calmly the listener will be able to feel with it (within the spaces that it recreates) in the same way one visits a gallery of small paintings, of miniatures, even a landscape artist of either Andean tradition or erotic abstraction.

It manages to calculate a country that is beyond the borders or a sort of cartography of the distance.

As disturbing as the pin wheel that goes against the abyss, so the sonorous light of these melodies runs.

Those who can stay briefly, as in the days and let the sound flood them with the colors that dance in their sky.

Around there, other sounds seeped that are not so common place and that evoke the ternary that runs through the proposed territory (This will the "parable" of The Return) and is thus a record that navigates peacefully in the universal and contemporary.

Rafael Serrano