Following his latest album with Tzesne in 2024, and in keeping with the line of his previous solo work («20.20», from 2023), Enrike Hurtado now returns with this new EP, which picks up the same temporal concept —in this case, «24.25»— but with a line of research and an emotional connection during the composition process that go far beyond what he explored in its predecessor. Whereas in «20.20» the Bilbao-based artist was studying the possibilities of a digital feedback system he had developed himself, he now adds a new element to the equation: improvised guitar. An instrument whose expressiveness allows him to articulate, with sobriety and elegance, an emotion as profound as it is intimate: loss.
As we were saying, although Hurtado’s working dynamic continues to delve into signal processing and the manipulation of noise —by means of inverse‑mode reduction systems, with which he removes the signal and brings out the noise—, in «24.25» he does not limit himself to composing from that ancillary, supposedly disposable material; rather, starting from those fragile feedback lines —flickering like the flame of a candle—, he intervenes with his guitar on the three pieces included here. During improvisation, Hurtado seems to refuse to construct a specific narrative, yet it is precisely there, thanks to that interpretive refusal, that beauty manifests itself. A genuinely expressionist beauty, a beauty that wraps noise in the guise of absence.
—Slowly, very slowly, like two compass needles, the feet turned to the right: North, North‑east, East, South‑east, South, South‑west; they stopped, and after a few seconds, they turned with the same calm to the left: South‑west, South, South‑east, East (…). Miguel A. García in memoriam.
