buy the vinyl on the label's website:
watch / listen the first single
🕯🕯🕯🕯🕯🕯🕯 ESPILLS A LA NIT 🕯🕯🕯🕯🕯🕯
a film by Anna Izquierdo & Max Villa
watch / listen the second single
🌳⛪️🌳 DE FOREST A LA TRINITÉ🌳⛪️🌳
a film by Sidney Latil & Helena Bosch
In the past six months, I’ve become more conscious of the dust settling on my bookshelves and windowpanes. Not that I didn’t notice it before, but with the additional time spent in my apartment, it is hard not to become more aware of your confines—all the small cracks in the cupboards and droplets of white paint on the wood floorboards eventually reveal themselves.
Contained and simple, Casa, the third album from Catalan multi-instrumentalist Ubaldo (Andreu G. Serra), is constructed of broad, expressive ambient strokes, with understated inflections of guitar, voice, saxophone, and piano. The soundscapes on Casa seep into you like morning light through a sheer curtain and illuminates the room. Ubaldo does not build separate worlds on Casa, but instead, he highlights the one we know. Like water, Casa takes the shape of its container, filling whatever space you feel most stable in.
Generally, my philosophy is that stagnation is dangerous. Until recently, I think I have been too naive, privileged to acknowledge how comforted and strong being settled can make one feel, and how important it is to appreciate stillness in the rare times it’s available to us. Casa has been my reminder.
~~~~~ Evan Welsh (TONE GLOW)
Ubaldo, the project of Ebro Delta musician Andreu G. Serra living in Brussels, is one of a couple different offshoots of his creative capacity. Bimbo Picasso is a punk inspired guise and his collaboration with Kiran Leonard, Or Sobre Blau, is an experimental dual guitar outlet, full of brambling free passages. Casa, “house” or “home” in Spanish and Catalan, is the third full-length as Ubaldo, and it is an album full of hedging, round feedback tones, breathy and melodic vocals and sustained or gritty, plucked strings.
Casa was recorded as a sound diary to Serra’s acclimation to his new home in Brussels, following a stretch of life embracing nomadic living, moving from place to place over the past few years. During this new frame of life, Serra also started renovating a friend’s home located on the city’s outskirts, clearing gardens, restoring crumbling walls, and attempting to heal diseased trees. These manual, restorative processes, done out of love and self-health, along with digesting the meaning of creating a home after years of constant travel, seem to have deeply inflected the recordings that Serra created during this period.
The structures of these songs are loosely defined, often drifting into one another, and sharing broader ideas. Bellowing feedbacks direct the melodic path of many tracks, like “Ma germanes,” like developing still lives. On other tracks, Serra lets his sporadic but gentle guitar playing establish a tone, as he does on “Mos falten persones co Xuanill,” sometimes pairing his guitar with reverberated, vaguely folky sung vocals of his own, like on “Le gui (I else que no volen veure)”. Serra creates fragile, growing songs, displaying an ability to handle a wider range of modes.
Casa, at times, bridges the warmth of Marissa Anderson recordings with those of more ambient and electronic affairs, like Stars of the Lid. It approaches a middle ground, or more accurately a shared element, of the polar opposites Serra displays a passion for with his Ubaldo project. It can be hard to find common ground in separate elements of life, but in emotionally challenging moments it becomes possible due to extended moments of reflection. By inverting pre-existing perceptions, you often find a different meaning. Casa is the sound of Serra realizing the power of those reflective moments and finding a way to capture it in resonant ways.
~~~~~ Ian Forsythe (DUSTED MAGAZINE)
" Slow on the uptake here, but a number of particularly reverential testimonials have shown me the light. So here i am again, showing up late with just what you might already have... Casa is the third record by Brussels-based Spanish ex-pat, Andreu G. Serra, and is said to be a meditation on the meaning and understanding of 'home', Serra having experienced somewhat of an itinerant existence the past few years. What that translates to here is a collection of drone-led miniatures, glitched tones, the odd american primitive style guitar abstraction, and occasional vocal contributions. It's a nebulous, often eerie listen, a series of nimbostratus clouds pregnant with inscrutable meaning, just a touch out of reach. In this fashion, it does a good job of communicating the notion of displacement and the experience of the diaspora, supple and ethereal compositions that billow and breathe with their own strange, independent life. Hard to pin down just exactly what this is like, fans of the recent Francis Plagne and Romeo Porier records will devour this, while there's certainly aspects of Hecker and Kali Malone, albeit much softer to the touch. And when Serra sings or 'plays' guitar, there's a folk-like intimacy rarely seen in the experimental/electronic world. Future classic status assured. "
World of Echo