If we can find a kind of common trunk in the work of Folclore Impressionista, it is the idea of fading, in the sense of «eeriness» characterised by Mark Fisher. In a sense, we can say that Folclore Impressionista has always been working on the same theme (a meta-theme), but from different perspectives.
The fading of memory, in Campos Espectrais I, resorting to operative strategies of psychogeography, looking for portals to a remote past more linked to childhood andthen confabulate about that same past reminiscent of an already vanished rurality, where it was still possible to find vestiges of a pagan mythology, despite the corsets of the Catholic Church and the Portuguese political regime in those days; the fading of that same landscape, Campos Espectrais II, in the sense given to it by Brian Eno in «On Land», when he realizes that there is never a clear distinction between the background, where everything really happened (freedom space, fantasy , adventure, magic, etc.), and the foreground plane; the fading of the fascination for the «new» in A New Sensation, undoubtedly one of the structuring elements of the idea of the future and the way of thinking of the generations that grew up in the post-war period, but clearly in decline since the transition to post-modernity, as a consequence of the strategic greyness of neo-liberal policies. It is therefore a kind of «eeriness of the weird»