Wade Matthews and Alfredo Costa Monteiro are two serious musicians who kick off their creative processes by listening attentively and realizing what’s going on around them, then – eventually – decide to release a record containing the acoustic rendering of the reasons behind that primary suggestion. In the case of Winter the pair attempted to portray a superior kind of physicality, supported by an instrumental range that encompasses synthesis, processed field recordings, amplified springs, electric motors and radio. We all have learnt over the years that Costa Monteiro is able to draw out riveting sonic kernels from theoretically non-reactive sources, paper included; the lumpy waves and emaciated ellipses generated by Matthews appear as optimal counterparts in this statement, difficult to file in absence of unquestionable reference points. Maybe a less expensive version of some of Iannis Xenakis’ mythical discharges would make for a (barely) adequate delineation of certain parts of this CD: dozens of high-strung fragments smeared by crude compulsions, the theoretical coldness deriving from whirring appliances, the incandescent ebullience of a natural irregularity. All of the above is balanced by the “softer” traits of an inexhaustible matter, a little relief given by the gradual flutter of the oscillators and by the stasis brought by several layers of droning materials. When warped voices from the ether surprise us in semi-relaxed stance, we instantly know that it’s time to go back to the initial defensive posture.