Ondarock (IT)

The impermanence of rustling sounds, of invisible things. Scratched silences, distant bells in the wind, the crackle of stars. Federico Durand speaks the language of ghosts, thunderstorms, and details that appear motionless. For twenty-five years, he has gifted us an annual album that reveals itself to be a treasure chest full of surprises.

The recent *La Manzana Mágica*, released on the 12k label, is no exception. The prolific Argentine musician had previously released *A Través Del Espejo* (digipak CD) in 2016, *La Niña Junco* (LP) in 2017, and *Alba* (transparent blue LP) in 2020 on Taylor Deupree’s label. Like his previous releases, *La Manzana Mágica* is available on LP as well as in a digital format.

With Federico Durand’s work, the physical medium is part of the artistic experience; the object itself is part of the narrative. *La Manzana Mágica* is no exception, featuring—both on the cover and inside—some of the “Cinderella stamps” that inspired Durand while composing the album’s twelve tracks. These stamps echo a world that no longer exists—a world Federico examines through the lens of his remarkable sensitivity, utilizing field recordings and a handful of instruments that might seem hopelessly outdated today (Crumar Performer, mtl.asm CT5, Electro Harmonix 22500, Roland Space Echo RE-201, ARP Odyssey, Sony TCM 200DV, cassette tapes, music box, Zoom H1, Microcosm, toy steel drum, feedback looper, Korg MS-20, Fostex X-18). His daughter Maria Luisa sings on a couple of tracks (“Jul 1948,” “Jólin 1960”).

In such a fast-paced, frenetic world, this sound offers hope. A hope that animals and insects might speak to us; that birds might be the letters of the air, and ancient underground roots might commune with the tides. To stay, to contemplate, to breathe, to listen: finally, someone who allows themselves the luxury of remaining close to the wonder of the cosmos. Of exploring their own true nature: impermanence.