The composition Romero is reminiscent of a hundred light-emitting diodes in a coarse space. There is some kind of warm-hearted infantility in this, fending off a tough reality. The cyclical nature of Durand’s ambient reminds us of the composition Hallo from Iaora Tahiti, an album by Mouse On Mars.
The track Nogal comes in like an anthem to childhood, recorded on an old, already degaussing audio cassette. The likes of such low-fi tricks give the album a higher degree of informativity, making it a release with some kind of romantic backstory.
Tomillo gives an impression of a multitude of stained glass shards spinning around in a whirlwind. It all sounds extremely minimalistic, while preserving the aforementioned cyclical quality.
The field recordings of the composition Menta manage to spice up Durand’s standard sound inventory just a little bit, giving it a materialistic quality that doesn’t nonetheless ruin the whole picture.
The track Cedron lets one take a peek into the clearest of lakes, inspect it in smallest detail. And the final piece gets the composition slightly closer to what Tycho does through its flute-like sounds, it’s almost asking for there to be drums.
In conclusion, we must point out that the Argentinian ambient musician exhibited quite a rich audio herbarium that is aimed to be preserved nevermind the toughness of the times.
