David Cordero has always let the traces of the music that obsesses him dictate the sonic script of Úrsula's records . First he wore the Codeine straitjackets, Red House Painters and the first Migala; he then learned how to simulate the beats of a skeptical heart with rhythms built with a computer, overwhelmed by the digital craftsmanship that Hood wasted in "Cold House" (2001) or the cinematic melancholy of Julien Neto. He palpated the music in images from Lynch's films and looted three themes from the Misfits to return three loaded versions of Orfidal. Over the years, he was rationing the words and the chords until leaving them in suspension in "Better to follow the silence"(2009), with Juan Luis Castro on bass, with only three songs sung and a sound in balance between swarms of environments, sculpted with treated guitars, and the pulse of electronics. The influence of other music, marked by the use of space and atmospheres - from Tim Hecker to Stars Of The Lid, passing through The Sight Below - finally emerged in Cordero, which limited the sarcasm of its lyrics to the titles of these topics and a few verses to learn to speak through sound.

If he was able to do it, it is for two reasons: the first is that he is a formidable musician, who for years had been tracking that way of making music, breathing it and making it his own slowly; and the second is that he has constructed these themes through exploration, not of other musicians or of a specific aesthetic code, but of himself. All that has led to "Until the loneliness separates us . " In the greatest adventure of his career, Cordero has lost any point of reference -the guitar lines, the words or even the rhythms- in an album mastered by Rafael Anton Irisarri, made of two different halves (one loaded with slow strings and another that introduces piano sketches), which shortens the path between your heart, your stomach and the audio output.