Oblique Mirrors

"The music itself moves in and out of free jazz territory, alluding as well to late 20th century modernism and contemporary electroacoustic experimentalism. A track like focal point, the opening piece, centers on the kind of line-and-energy playing associated with free jazz by presenting a hyperkinetic polyphony dominated by soprano sax. By contrast the more introverted and texturally-focused tracks refraction and sphere turn attention to a soundscape of subtle colors and microsounds marked by Pinheiro’s fine-grained, inside-the-piano work and Travassos’ restrained electronics."
Daniel Barbiero, Avant Music News

"While Gärdin may be the unconscious focus here, the persuasive playing of his partners shapes the recording. Pinheiro's piano, whether he plays the insides or out, is the rhythmic and percussive backbone of the recording. Franco and the minimal electronics of Travassos supply the frosting. Impressive stuff here."
Mark Corroto, All About Jazz