New free release! Magma en el garaje by Gonzalo Biffarella – Ives Romero – Josep Manuel Berenguer. Exceptional experimental improvised music!

Posted on 11th November 2026 by Antoni Robert

A luxury guitar trio, playing experimental improvised music. Three great composers and players. An honour having them in my label and in my blog!

Gonzalo Biffarella — electric guitar
Ives Romero — electric guitar
Josep Manuel Berenguer — nylon-string guitar

Recorded in Còrdova (Argentina) on 29/09/2026, at Gonzalo Biffarella Studio

Three guitars, two electric and one nylon-string, explore a territory of resonances, silences, and shifting depths. Between metal and nylon, between the roughness of materials and the gentleness of gestures, a three-way dialogue unfolds in which sounds seem to emerge from remote spaces, draw closer, linger for a moment, and drift away until they disappear.
Sustained pedal tones, harmonics, barely perceptible articulations, and extended techniques construct a sonic matter in continuous transformation. Chords lose their harmonic identity and become textures; resonances take on a voice-like quality; restrained attacks reveal secret articulations. Restless phrases contrast with caressing arpeggios, while lines of unexpected sweetness dissolve into bubbling patterns. Sounds fly, walk, and hover. A sustained tempo runs through the improvisation without imposing itself as a measure, while intensities and silences shape the perception of time.
The softness of form may conceal the roughness of materials, just as abrupt forms may be woven from seemingly gentle sounds. From this tension emerge unstable relationships, provisional balances, and transformations that blur the boundaries between gesture, texture, and structure.
The shadow of history hovers over sonic space, though not necessarily over musical space. References appear as vestiges, incomplete memories of languages that were once recognisable. Popular music, pop itself, explodes into countless fragments, scattered across a space where memory ceases to organise the discourse and becomes part of the sonic matter.
It is not so much a question of arranging sounds in time as of conceiving music as space. Sound as flow; intensity as the vehicle of form. A space of proximities and distances, of fleeting presences and lingering resonances, where each intervention alters the perspective of the others and where silence does not interrupt the discourse but participates in its construction.
The response of space thus becomes a metaphor for the depth of thought. A thought that does not present itself as complete, but takes shape through the very act of listening, through approaches, detours, and discoveries. A thought that, from density and mystery, works its way towards the light.