The long black melena of a red lips called for movement from the first moment of the concert. He asked Hector as if it was the last battery he played in his life, for example in the song “La Isla (until broken)”. However, the involuntary presence of the bass was what dominated the elegance of the band.

The guitar's noise was looking for the beauty of dirt. The ears experienced new sounds with all the tools at our fingertips; in the song “Témpano” they discovered the mixture of different sounds. Progressively, the song becomes noise and ends suddenly.

Among the obscene noises and the kicks that broke the silence, the “Agota” appeared. One of those slow, complicated songs that shows the coordination between guitar and drums. From Ainara's mouth came the tender, raw words that eroded the surfaces in a murmur, leading them to the world of stupidity, to hypocrisy.

Sometimes voices, guitars and changes in intensity are enough to get caught up in the songs, but if you add battery and low, they send you to a fascinating singularity.

Immersed in a parallel world of strange noises, in which the retreat of the gaze on the stage becomes an impossible mission. In this cloudy atmosphere is the elegance of LeGardon to play the guitar. On your right, the presence of a tape echo surprises you. Ainara produces strange, surprising sounds, never heard. What at first glance seems like an old and vulgar gadget, gives intensity and strength to the show on stage.

An independent, American, folk and blues rock work that focuses on the smallest details and that aims to give priority to the quality of the work. The collectivity of the subjective intimism of this artist lies in the concerts that at first seem strange to you, but which in the end embark on admiration.