Trilla arises from the encounter between Le Parody and Luz Arcas, an investigation into the worlds they share: folk and electronic music, and the need to question the vertical structures that historically dominate us.

The proposal is purely intuitive, a succession of images, dances and sound landscapes related to laments (water as a key element of universal folklore, from tears to sweat, from eroticism to bad omen, from birth to death), war (the global but also the private one that makes its mark on each and every body) and Marian references from a pagan perspective.

Quoting Luz Arcas: “Trilla arose from an accident: while we were working on Somos la guerra (We are the war) , a previous piece of larger format, we felt that an unstoppable energy was being generated, a one-on-one between the two of us (Le Parody and myself) that had to be played out on another board, more naked, stripped down. We needed to be alone with the poetic engines of the work and delve deeper into the cracks that opened up and connected Andalusian folklore with the universal, the history of bodies with the history of sound. Trilla is also an album, which was not premeditated either, but arose from that energy, another accident. Trilla, above all, is an experimental ceremony that we offer to a simple white handkerchief, the only element present in the piece and the meeting point and escape of body and sound, sweat and tears, the bride and the mourner, childbirth and the shroud”.