The masterplan.

Posing the process as vehicle for transmitting and communicating musical intentions, we agreed as method the complete freedom of action of the sounds themselves; for them to suggest, speak or reject us and for this we set as rule the absence of rhythmic elements that could work as a conducting baseline for each piece. This was the starting point.

The machines self-govern.

Then, the ritual process was surprisingly guided from beyond; and it was seeing the three-legged table floating 1 meter above the ground what confirmed us that there were three of us on board of this process.

Like a ouija board, the interfaces of each one of us captured all signals, establishing a dialogue of surprising autonomy.

Yours, mine, for me, for you.

This three-way conversation was never stressed except by its own sonic confrontation; the living presence of the invisible thread of a medium acting in complete freedom surprised and relaxed us in equal ways, as the pieces took their own shape.

We conclude that we are being read from the hereafter. A paranormal presence that placed us in no man's land, that place in space-time with no past or future, only in a vital, ephemeral and volatile present; a symbolic crossway that leaves a portal open between here, there and the hereafter!