Miro todo

Miro Todo sounds as if Juana Molina had taken a mirror and shattered it into pieces to reassemble it anew. The song unfolds with a rhythm that resists traditional meter, as if each note hovers for an instant before landing on the next chord. It’s not a melody meant to be listened to in one sitting, but one that invites you to pause in the silences between sounds, where the air seems to breathe alongside Molina’s voice.She recorded it between 2020 and 2025 in her home studio in General Pacheco, using analog synthesizers and sequencers she had already explored in the Improviset concerts alongside Odín Schwartz.

Those sessions, which accumulated over sixty hours of improvisation, became the seed of Doga, her first album with new material in eight years and the first since Rara (1996) to feature an external producer. The result, Miro Todo, lasts 8:53 and feels like an unhurried journey, where each repetition of a pattern isn’t an echo but another layer in a soundscape that slowly takes shape.