Do Nothing distills the philosophy and craft of Clara de Asís into a series of luminous solo statements realized for acoustic guitar and percussion. Each piece - “Do Nothing,” “Know Nothing,” “Nothing lasts I,” “Say Nothing,” “Nothing lasts II,” and “Be Nothing” - explores a different approach to sparseness and resonance, with de Asís charting a path that is precise yet open to surprise. Repetition, ringing harmonics, subtle percussive gestures, and the careful arrangement of silence define the album, reminiscent of the reductionist lineage but animated by personal lyricism.

In the title track, crystalline guitar tones are set against pointillist percussion, the two sound sources locked in a gentle gravitational dance. The music’s pauses serve not as emptiness, but as fields of potential - what de Asís calls “the life that comes out by doing nothing.” Throughout the collection, sounds gather and recede in brief cycles; mechanical interludes evoke typewriter keys, sewing machines, and the whirr of daily objects, lending each piece a quietly experimental air without sacrificing warmth. Bell-like harmonics, gently bowed metal, and subdued vibrations join the guitar’s attack and release, navigating a landscape both generous and reserved.​

De Asís’s history - rooted in Spanish flamenco and shaped by her French studies in electroacoustic composition - finds subtle echoes in the album’s hybrid textures. The works reference ordinary objects and processes, but assemble them into sequences that refute both spectacle and predictability. “Nothing” and “silence” become both the subject and field, the space in which attention flourishes. Do Nothing refuses embellishment, instead discovering complexity through close detail, contingent resonance, and a stream of quiet revelations. By the album’s close, each fragment lingers, proposing that even the smallest musical act can yield a spectrum of meaning and affect, if only we listen with intent.