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The LP takes advantage of its inevitable split to divide the music into solo pieces and more layered works. Isasa’s picking has become more delicate and reflective than on earlier LPs, and as the first sequence progresses, the tunes get longer, slower, and more elaborate. It finishes with a piece whose title, “Carta A Mi Joven Yo” (“A Letter To My Younger Self”), amounts to a missive telling Isasa-the-younger that it’s going to be okay to settle down. “Firmamento” begins side two with a transition of scene and sound. Isasa’s guitar seems to loom out of a still synthesizer-scape. From there, things brighten considerably, as the voices of loved ones pop up in tunes that are subtly dressed up with lap steel and piano. One track is named after his spouse, another after one of the children in his house, and two more kids contribute voices to a third.

Isasa’s trip has a very personal destination, and each element plays a part in telling the story.

The album’s titular love songs celebrate home life, and as member of the household takes their place, the additional layers take the music away from the stage. As it grows more elaborate the music becomes more comforting. It’s as though the composer wants his audience to know that as much as he’s happy that they’re listening, he is not going to be hanging out by the edge of the stage, because there are people he wants to see at home. And if he doesn’t come back to the club for a while, perhaps you can just listen to this record,  kicking back someone you love.