They say:
"In a past life that came to a close sometime around 1996, Buenos Aires' Juana Molina was a well-known comedienne and television host, something akin to Argentina's Tracey Ullman, or say, Carol Burnett. It was a role she dutifully fulfilled for almost seven years before succumbing to a twerk of conscience and retreating to Los Angeles in the hopes of starting again, this time as a musician."
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"The subtle prettiness of Juana Molina's music tends to engender an undermining passivity in listeners...Her music may have slipped into the background, even for some fans, but Molina is onto something interesting. Her twin obsessions with the folk music spanning Argentina, Uruguay, and Brazil and the shading possibilities of electronics have pushed her work into an unusual place. The guitar is central, but Molina uses the instrument as a line instead of a shape. Chord changes are deployed sparingly, allowing her songs to build horizontally, gradually adding and subtracting sounds to create an endless music that could theoretically go on forever. "more...
"When I started to write the songs for this record 'Son', a new element that may have been hidden for a long time appeared; the randomness of the combination of sounds in nature. Each bird has a particular singing; nevertheless this singing is always different. It is not a pattern; it's a drawing, a sound and a mode, only a few elements that each bird combines in a new way each time.
In the same way, sometimes I chose to sing a melodic drawing I develop for the song. Verses are alike, but never the same (rios seco, no seas antipática) other times I chose to sing a repetitive melody. What changes here and moves randomly is, for example, a keyboard. It is like overlapping two different loops, with no synchronicity at all. One very rhythmic and the other one more lose. When you play both, at the same time, the loose loop will provoke a changing harmony, because their beats will never be in the same place. This causes a moving harmony."
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