Somewhere between Salamanca – birthplace of the artist, where she studied Arts – and Samarkand – on the route to India, where she studied music – between the East and the West, between tradition and the avant garde, there lie the places Fátima's Voices spring from and move through.
Born of an ethno-minimalist sensitivity, Fátima Miranda turns her back on the tyranny of the canons of beauty in song and word and, facing the world her own way, she fearlessly rushes into the forest of the oral traditions which still inhabit this world, thus become for her a delicacy and a language, as common as bel canto or sprechgesang, loaded with phonetic memories, which possibly precede language itself, evoking extinct codes of communication which are nestled in the collective unconscious.

The scarce use of intelligible words emphasizes the universal character of these pieces.
In her aesthetics there is something of the archaic and intangible, which appears to transport the audience far away from this world, submerging it in an elegantly sensual atmosphere, whilst an attitude of irony towards the kitsch and the presence of the sacred in the domestic exudes playfulness, joy, and even shades of fun and sagacious madness that never leaves us indifferent. Intimate contention and extroversion coexist in a synthesis which harmonises the ordinary and the sublime.

For Fátima Miranda's voices, says Llorenç Barber, "singing is neither mere consolation, nor showing off, but rather wandering among enigmas, a thinking in sounds which, transcending borders is always worthwhile, for it helps us to get free from the unhealthy passion for all that is certain and safe."