The extremely short duration � less than 19 minutes � classifies Mikrograph�a as an EP. However, such a restricted temporal frame is inversely proportional to the interplay�s quality, made explicit across three tracks of mysterious counterpoints bathing in relatively ambiguous resonance.

Aside from Chrysakis� piano � obviously more identifiable than the rest of the palette and, in a way, dictating the extemporaneous harmonic paths of the spontaneous fluxes � the overall dynamics follow the rules of a hide-and-seek game of sorts. Think an evacuated neighborhood enshrouded by grayness, but occasionally illuminated by entrancing oblique lights. When the Rodrigueses emit whispered upper partials via viola and cello, Moim�me�s guitar is probably generating a humming cloud in the background. Mira�s double bass is at the same time unobtrusive and impressive in its growling hoarseness, whenever the human entity behind it decides that a little vibrational momentum is necessary to slightly alter the mix�s balance.

In spite of its regular exploitation of noisier components, this music�s character could be generally described as Feldman-esque. Still, those murmurs, creaks and clatters suggest a subterranean tangibleness that keeps the ears on constant alert, and the mind active. On the whole, the combination of conciseness and intriguing timbres constitutes the work�s actual winning card; we can definitely accept the conventional �less is more� in this case. If only the innumerable periphrastic nonentities who inhabit the universe of improvisation followed this quintet�s example, the task of a commentator would not include so many hours wasted in acoustic tedium.