An interesting title to begin with. The situation of feeling like an extraneous body in a system that works according to peculiar principles. Or, in a more “mental” acceptation, the priceless condition of being completely delivered from fatuous intellectual dimensions, entirely immersed within unfamiliar sounds that blur whatever distinction one might want to apply to their perception. Macarena Montesinos, Niet F-n and Pablo Orza really don’t give a damn about getting recognized as “instrumentalists”; at least, not in the ordinary sense. For them, dissonance is just a means to arrive at the core of meaning. It’s an anticoagulant against the cerebral blood clots that stop the processes of deep discernment, as opposed to the need of talking without a reason.
As it frequently happens with Creative Sources, everything is comprehensively exposed in a restricted time span. Five tracks, circa 33 minutes: that’s all it takes. At first we were led to reflect on Asmus Tietchens’ evisceration of the minimum, a process of exploitation of small particles of sound snatching strange luminescences from the jaws of bitterness. As the music spreads around the listener realizes that each move implies a psychoacoustic consequence: alteration becoming necessity, apparent disorder turned into exact engineering. Suddenly you locate the correspondences that render a jumble of pitch, noise, upper partial and rumble as a coherent integrity. The trio’s emaciated polyphonies warrant a chance for the mind to fill the cracks of non-knowledge with the implicit calmness brought by a correct intuition; indulgence and luxury are all but abolished. The immediate acceptance of this unique jargon repels the intolerance for the “certainties” still wished by primitive audiences in front of an improvisional act.
In other words, those who intend to walk barefoot can’t be stopped by the glass shards on the floor.