The curriculum vitae of this young composer (1975) from Brazil looks interesting: studies in physics and mathematics, participations in miscellaneous improvisation and EAI local projects, interests in singular techniques on wind instruments, field recordings and electronics. At present, Cristovam is “investigating radio art, sound poetry and Brazilian indigenous music”. The four tracks in “Paisagens sonoras” are presented in chronological arrangement from 2003 to 2006, the music’s worth growing accordingly. “Aço” deals with heavily treated acoustic guitar, and it’s indeed more noise than accurate testing, not exceedingly appealing in my opinion. Things get better from “Os jardins eletromagnéticos of Ur”, where a C-melody saxophone and amplified objects are so disfigured that what we hear is roughly equivalent to an inner-city guerilla in between electrically charged fences, powerful whirrs and shrapnel-like discharges assaulting our focus amidst digital griminess of any kind. “Pradarias inversas” is a superb pseudo-static piece, pregnant of implications despite a pretty simple configuration, mostly based on the parallelism of next-to-ultrasound high frequencies and the mumble of processed environmental sounds. “Construções em barro, vidro e plasma” concludes the CD in style, utilizing the walls, floors and windows of an edifice to inculcate a feeling of insecurity in the listener via hostile drones, harsh waterfalls and sudden silences. It evokes a fragrance of wariness identical to that pervading the whole record, at the same time representing its most engrossing trait.