The piece premiered in Madrid at The Social Hub hotel, with four performances throughout one night, and was later taken to London at The Horse Hospital.
A 20´sound piece is composed with the intention of performing it live using samplers and a keyboard. The sound's conceptual idea is to accompany the narration of "La Eslovena," who undergoes a personal evolution from the birth of the mythical creature to its mature fruition. To reinforce the narration, previous recordings are made to layer them with effects to create an impression that "La Eslovena" is a distant, ambiguous, and mysterious being.
INTRO: The music is a journey divided into sonic acts. We begin with an ambient introduction, without an apparent tone or rhythm, aiming to evoke ancient times. The music is designed to envelop the audience using speakers to distribute sounds and the voices of "elves" or White Ladies whispering in your ear as you take your seat before the first act.
ACT I: In the first act, "La Eslovena" lies dormant in the forest. The composed music is a synthesizer controlled by a vocoder, producing chords to the organic rhythm of my breathing, emulating the heartbeat of the egg where "La Eslovena" resides, without a fixed rhythm, while we hear her voice-over. The music at this moment gains humanity by feeling the breaths, bringing us closer to the birth of a new being.
ACT II: For the second act, "La Eslovena" has already emerged from her nest and approaches the spectators, investigating the place. The music at this point adopts a rhythm for the first time. The sounds are sharp and crunchy, like bugs and wind sounds among the branches; representing with sound what "La Eslovena" has begun to narrate. The narration speaks of growing as a creature, and the music grows with her, reaching an aggressive point, with beasts, kicks, and sound waterfalls; a strong bass drum and tribal rhythms appear, without losing the minimalist aesthetic, as if a ritual were taking place in the forest. When we reach the climax, "La Eslovena" has reached maturity, and we suddenly cease the music to transition to the next act.
ACT III: "La Eslovena" is no longer an animal; she is a goddess and begins to parade while recounting her story. The music loses the forest textures and becomes refined, resembling fashion show music, very elegant, rhythmic, and refined. The rhythm is in 5/4, making the step imperfect and disrupting the rhythmic center, accompanying the personality of this unknown being with music tailored to her.
ACT IV: Video attached. As a final flourish, increasing the rhythm of the music drastically, and increasing the density and darkness, we once again hear the "elves" or White Ladies enveloping a new climax that arises around the empowerment of the creature. After a dramatic silence, the piece ends in a climax of light strobes and dark, dry hard-bass-techno rave music, at maximum volume. Meanwhile, "La Eslovena" remains still with arms outstretched, looking at the sky, and in a matter of seconds, the play ends.
In 2024, the performance is reconfigured to adapt to the format of Raia, an exclusive channel on the audiovisual platform WE:NOW.
The channel features artists who are interviewed and perform a short show in a unique and laid-back style, taking audiences behind the scenes of the iconic Madrid venue, El Sol. The music is a completely reimagined version of "El Jardín De Las Damas Blancas," entirely reinventing the context to accompany La Eslovena's narration.
For this performance, the choice was made to use an electric guitar, and by turning the avant-garde and electronic concept on its head, the music takes on the role of lullaby-like stories around a campfire, evoking the storytelling traditions of José Larralde or Atahualpa Yupanqui—distant, folk tales voiced by La Eslovena to bring a conceptual twist that is both spatial and alien, yet rooted in human experience. The same text but with different music creates two completely distinct results and experiences.
