Carmina Escobar: voice, electronics, field recordings; Milo Tamez: extended drumset; Thollem McDonas: piano
The social and cultural aspects connected to the Estamos project (this threesome being a fraction of the larger Ensemble) are paramount, having to do with the nearly hopeless attempt of preserving languages and traditions that are gradually becoming more vulnerable to the deadly darts of so-called civilization. That said, the Trio focuses on improvisational traits whose straightness transmits a distinct persuasion of living entity, a “relational realism” specially conveyed by Escobar’s voice both via her undyed characteristics and the “altered” variant (electronics rendering her proximity analogous to a haunting shade in an uninhabited house). The music’s quality is highlighted by the intriguing collation of field recordings in unforeseen instances: check “Abatian”, where echoes from a town abruptly materialize to complement Tamez’ articulate percussion solo. McDonas acts like a quiet movie director who reserves a few fundamental cameos for himself; as they come, we’re treated with his customary simultaneousness of technical skillfulness and humanity, inspired hands extracting exquisite chordal scents from an apparently bottomless well of cultivated impressions. Also quite strange – but an absolutely clever move, if you ask me – is the positioning of the most “ethereally suspended” tracks at the end of the program, which left this commentator instantly disposed to starting anew, as if some of the messages needed to be better deciphered; a positive sign for sure. Ultimately, placing People’s Historia in a definite category is rather unfeasible; almost intangible harmonically speaking yet totally earth-born, this record seems destined to grow in value with the passage of time, reverberating for long in our speculative mind to terminate its natural course inside the realms of the memory.