Desinhumano

Juana Molina has spent years exploring sound as if it were a territory without maps. In Desinhumano —one of the central pieces of Doga, her first album with new material in eight years— there are no melodies that resolve with a clear ending. The track circles forward, but not as an empty loop: each repetition leaves something new in the air, as if the song were being built in real time. The foundation is hypnotic, almost mechanical, yet with an unexpected twist in the final minutes where everything unravels without losing coherence.The process behind Doga began in 2019, when Juana Molina was preparing a series of concerts called *Improviset* alongside Odín Schwartz.

They recorded hours of improvisation using analog synthesizers and sequencers in her studio in General Pacheco, south of Greater Buenos Aires. Between 2020 and 2025, these materials were edited and refined in her home studio and at Sonorámica in Traslas, until shaping an album that breaks with what she had done before. Desinhumano lasts exactly 4:07, yet within that brief span lie layers of sound that seem to expand.