2004 es una época de grandes dificultades económicas en nuestro entorno, de muchos cambios para seguir adelante, pérdida de trabajos estables de años y jugarse por inciertos nuevos rumbos. Sin embargo, todas estas dificultades no hicieron más que potenciar las actividades del Carbonoproyecto en general, que por su naturaleza, funciona como herramienta de exploración, de juego, de producción, en cualquier contexto. Algo así como una “forma de andar” el camino, que se adapta a las circunstancias,  y marcha siempre a nuestro lado, no importa si vamos a pie, en bicicleta o en auto.

Y Los cuises ni se lo preguntan y ya están haciendo retumbar sus guitarras tiocas, disfrutando de sintonizar con las orejas cada momento único, aunque sea el ruido del walkman de cassette con el que grabaron tantas veces, que ya no da más, y será el último en serio porque ya no se consiguen. Y las improvisaciones aparecen en seguidilla, ya sea como un simple devenir sonoro donde se escucha y sostiene la mezcla que surge del libre impulso con las guitarras, o nutridas por la vivencia u observación almacenada en la memoria del día o en el tiempo. Es decir, todo es parte de un continuo donde confluyen la ejecución de los instrumentos con el recuerdo azaroso de una visita al cementerio, por ejemplo, o una broma sobre el vecino policía y su mujer que sufren porque un antiguo preso conocido está viviendo en una casa de al lado, o la evocación de los drogones conocidos y su idea fija en “cara de torta”, o del gringuito solterón del pueblo cuya alegría diaria es la hora de ir a buscar la vianda que le prepara una cocinera del barrio. Y no puedo dejar de mencionar a “el mulo y el comisario”: improvisación sobre un suceso de esos días en un campo que se ve desde  La Casita de Carbono, donde el comisario de Toay trata de sujetar un mulo que viene siendo perseguido desde hace días en los alrededores, lo enlaza pero el animal tiene un ímpetu terrible y lo arrastra por los pajonales ante la mirada atónita y los comentarios jocosos de los vecinos, entre otras situaciones.

Los albañiles [The bricklayers] collects improvisations recorded at different times in 2004. After almost a year we returned to pick up little by little the construction of our house in Toay with Gustavo, so the jam sessions at the end of the day became frequent again. Many of the recordings from this period were lost or sound immersed in a sea of ​​noise that prevent access to content, due to the use of poor quality cds that after a couple of years inevitably fail. Anyway some passages could be recovered, although they sound with crackling (a sort of digital return to 78rpm vinyl?), and other noises. However, we preferred not to apply filters, so that those parts that can still be heard wouldn’t be altered. Any sharp observer might say that anyway the difference can’t be noticed because Los cuises do always sound “crude”, but for us it is important, otherwise it wouldn’t make sense to publish these recordings.

2004 is a time of great economic hardship in our environment, of many changes to keep going, of losing steady years-long jobs and risking towards uncertain new directions. However, these difficulties did nothing but enhance Carbonoproyecto’s activities in general, which by its very nature, it functions as a tool of exploration, play and production in any context. Something like a “way of walking” the road, adapting to whatever context, and always beside us, no matter if we are on foot, by bike or car.
And Los cuises don’t even ask about it and are already making their coarse guitars rumble, enjoying with tuning with the ears every single time, even if it is the noise of the cassette walkman with which they recorded many times, that it can’t work ny longer, and it will really be the last because these gadgets aren’t available anymore. And improvisations appear in string, either as a simple sonic evolution simple sonic evolution where the mixture that arises from the free impulse of guitars is heard and held, or they are nourished by the experience or observation stored in the memory of the day or through time. That is, it is all part of a continuum where the playing of instruments converge with random memories of a visit to the cemetery, for example, or with a joke about the police and his wife neighbor suffering because a former prisoner known is living in a house next door, or the evocation of drug users and their obsession with “face cake”, or the little gringo bachelor in town whose daily joy is the time to go look for the meal that a lady cooker prepares a neighborhood. And I can’t help mentioning “the mule and the sheriff”, an improvisation on an event of that day in a field that is visible from La Casita Carbon where Toay’s Sheriff is holding a mule that has been pursued for days around, he gets to lasso it but the animal has a terrible force and drags him over the grasslands to the astonishment and humorous comments from neighbors, among other situations.