stereo-type begins with the suspicion that what we call taste, desire or identity is never entirely our own. The images we choose, the roles we refuse, and the forms through which we try to distinguish ourselves often return as already recognizable signs. Even the search for authenticity, if pursued long enough, can become a pose, a category, an image to be consumed.

The same happens with sound: uncertain, provisional fragments, without a fixed identity, gradually take on a recognizable form through listening. The deception lies in this transformation: what remains unstable becomes familiar, and familiarity begins to resemble truth. The music remains sincere and necessary, but it is not innocent: it carries within itself the models it tries to leave behind, still searching for another possibility within their shadow.