In Lliendes is the living energy of oral tradition. It evokes the fugacity of imagination, the sensations that Asturian land transmits in combination with the stories that we inherited from it.

Lliendes represents the uncontrollable necessity of creating and believing, of perpetuating the imaginative process that came to us from the Asturian experience and we want it to last forever. In it we want to include from the mundane and daily to the vast heap of Asturian mitology. All those creatures want to have new life trough this song.

The "valsiáu" (waltz) is identified with joy, the perspectives of life and the optimism that parties always seeded on asturian people.

Of all the musical styles that reached us traditionally in Asturies, waltz always was easy in its performance and therefore was very popular in parties.

Among all the contrasts that fill the Asturian living, Valsiau introduces itself as a primitive example of joy.

Valdescabres or "Val de les cabres" (Goat's Valley) is a real story about the depopulation of one of so many Asturian villages, that have disappeared already. Beyond Valle (Piloña) in front of mt. Vízcares, the very voice of Isma immortalizes the experiences he remembers from that place, after three hours of walking on the ridges between Casu, Piloña and Ponga, in Valdescabres: "equí tuve yo les oveyes... años, de guaje ya" ("Here I had my sheep... years ago, as a kid").

The voice of Jose (Paye) sounds remembering also "un pueblu de ochenta vecinos, hoy no habrá ni treinta" (Full phrase in the song: "It was a village of eighty neighbours, nowadays there are no more than thirty").

This is the crude reality, and a frequent one, result of protectional politics and (of course) real estate interests that city councils apply across Asturias.

Proof of this are villages as Biamón and Caviella (Ponga), the ones from Oscos (La Coba, Caraduxe, Ferreira, Talladas, San Julián, Valías, Casías) or the miner zones that nowadays are ruins, and many more with numbers of neighbours that you can count with the fingers of a single hand.

Valdescabres musically reconstructs the life in this and other villages for its eternal remembrance.

Dúrmite makes a direct reference to one of the more rooted themes in the Asturian traditional repertoire. The title that is oficially used is "Agora non" ("Not Now"), due to its well known chorus. It's also custom to call it the same as the musical style which it refers to: Añada ("lullaby").

Nowadays we know versions for choir, quartet, "ochote" (a choir formation consisting in eight male voices) and traditional Asturian song. Its content introduces the typical variables that oral transmission usually carries. such as the existence of pieces of the song that vary depending on the geographical zone, several distinct interpretations of the lyrics, etc.

An instance of one of these interpretations is the one that illustrates an episode of hidden adultery.

[...]
El que está a la puerta (he who is at the door)
que vuelva mañana (come tomorrow)
que'l padre del neñu ('cause the child's father)
nun fo a la montaña (didn't go in the mountains)
Ea mio nenín (my little child)
agora non, (not now)
ea mio neñín, (my little child)
que está'l papón. (your father's here)
El que está a la puerta (he who is at the door)
que non entre agora, (don't come in now)
que está'l padre'n casa ('cause at home is the father)
del neñu que llora (of the child that is crying)
Ea mio neñín (my little child)
[...]
Válgante mil diablos, (thousand hells)
qué mal entendeis: (you don't understand a thing)
que volvais mañana (come again tomorrow)
que tiempu teneis. ('cause you have time)
Ea mio neñín (my little child) [...]

Dúrmite appears like a story of deep symbolism, enclosed in a lullaby for children that guided hundreds of children to the world of the dreams... that managed to arrive at us.

"Elexía" references the artistic form that arised during the Romanticism (elegy). In it, uprooted contents are developed, fruit of the loss of something dear.

The central calm piece of the song encloses this principle. The rest is one of so many faces that human personality has: the instinct.

Therefore we find in "Elexía" a reflection of the contrast among the most violent and archaic instinct, and the order that our conscience tries to impose over it. The ending is to which every living creature aspires: perfect balance between both.

Ñubes (clouds), curtain that hides us and protects us; that hides to the eyes a land full of life and feeds it with its water. The cottony quietness that rides our skies and makes us somehow to be as we are.

Ñubes is the musical birth of Xera.

We don't speak about the Asturian revolution. We speak about the endurance that those families had in the harsh situation in those days. About how their faith kept them alive, and that allowed us to tell about it, or at least imagine it. Faith in a world that changes. Faith in our power to change it if we tried.

"Inda" (yet, still). This is the word that pronounce those who still believe that the ancient isn't forgotten. That there is still intention to grow, to transmit, to change the world. That there is still the illusion of the distant in every step we take. That there is still the love of people and the intention to meet each other; the intention to be there, and that there will be also the ones that aren't yet.

The "rabel" or "Asturian Bandurria" contains with its force the eternity of the past in the present, and its insistence ends with the fusion of the bagpipe, saying the same word: "Inda, inda tú tarás" (Still, you will still be there).

Lloza is the name of a village that encloses a little drop of existence. One of many that come and go in this world.

A universe of experiences that begins from the most precarious youth. That nostalgia of which here is represented that moment we don't remember until our whole life is ending. That moment as of wich uncountable experiences rain over our heart until they fill an entire life. That instant whose distance shows the richfulness of a life without resources and the innocence of that moment.

Poem that Pablo Ardisana dedicates to the defunct lyric Cantabrian singer.