This is how Luís Hidalgo defined El País, the last of the albums published by Conflent. It brings together live performances, unpublished topics, pieces given to difficult-to-locate compilations and various rarities dated between 1992 and 2003. Despite the chronological dispersion that the disc must save, the truth is that it does not suffer at all from the inconsistency inherent in excessively dilated periods of composition. Perhaps because the Franco-Catalan has spent his whole life offering the same proposal, one so rich that it does not show the slightest sign of exhaustion. Everything is likely to find its place in the dreamlike, poetic and, at times, surrealistic universe of its toy orchestra. In his hands, the sardana and popular music from all corners of the Mediterranean are able to illuminate the darkest corners of the Krautrock practiced by his admirers. you can dress a traditional Catalan melody with minimal electronics or launch into the composition of sound haiku halfway between tango, cabaret, blues, soundtracks from Rota films and Balkan rhythms without ever suggesting anything like the setting . Between his attachment to his roots and a will to transgress that seems already naturalized in his personality, he continues on his own path, the same that has so far made him one of the most creative and unpredictable artists in European music.