Program

Meine Musik ist eine düstere Soundscape mit semimodularen Synthesizern und experimentellen Ergänzungen aus dem Bereich Fieldrecording und dem elektromagnetischen Feld.

Ich bin eine interdisziplinäre Künstlerin und statte Filme und Theaterprojekte aus. Zur Musik bin ich 2019 gekommen. Nach jahrelangem Musikkonsum wechselte ich in die aktive Form und bereise seither die Welt der Klangsynthese. 2021 habe ich das Editing und Sounddesign zum Hörspiel Futuradio von Len Pappe und Taucherfunk gestaltet. Es folgten gemeinsame experimentelle Radiosendungen bei FSK. Seit 2022 bin ich Teil des Female Pressure:Net und konnte dort meine ersten produzierten Tracks teilen.

https://sophia-lund.com/sounddesign
https://www.instagram.com/sophialund.art
https://soundcloud.com/user-696794084
https://vimeo.com/user8783799

J. ZUNZ

(Mexico, ROCKET RECORDINGS)

'With gently undulating rhythms and soft synth sounds, J. Zunz creates a vehicle to transport listeners to somewhere otherworldly, somewhere high above the clouds.'

Since the turn of the decade, Lorena Quintanilla has made a name for herself as one half (guitarist/vocalist) of Guadalajara, Mexico’s Lorelle Meets The Obsolete, an incredible psych and shoegaze band with a reputation for exceptional live shows and a catalog of equally impressive albums to match. Since 2017 Quintanilla has also been focusing on her solo project, J. Zunz. a journey that continues with her third solo release, and her second for Rocket Recordings after 2020’s ‘Hibiscus’. Recorded in a vociferously windy area of Enseneda, Mexico, where Lorena spent a strict lockdown, ‘Del Aire’ exorcises the troubles she encountered during the period, in the process creating both what she describes as a “continuity and discontinuity” from ‘Hibiscus’, and extracting a similar, yet fresh strain of emotional complexity.

With the atmospheric and natural theme of air at the heart of the creative process, Lorena has created an extraordinarily spacious work. The synths of ‘Lineal’ thrive on pulse-like repetition, gathering from a luscious sweeping panorama into a bruising orchestral crescendo. Elsewhere, as on ‘Del Aire’ the discordant-meets-melodic sonics dwell somewhere adjacent to Gazelle Twin. Both Lorena’s vocals and her distinctive crystalline avant aesthetic are writ large throughout the reverberations of ‘Cruce’ and ‘Horizonte’ as well as on the anxiety-rending exhortations closing the surreally meditative ‘Outsides’.

Parts beautifully reflects organic instrumentation through Lorena’s electronic prism. ‘Ráfaga’, meanwhile, sees caustic drums enact glitchy, stop-start rhythms. Here, and on the hypnotic ‘Nina’, Lorena gilds the narcotic power of Miles Davis’s ‘On The Corner’ – with trumpet recorded by Freddie Murphy (Father Murphy) – into electronically contorted shapes.

Through the mellifluous repetition, the cathartic buzzsaw moments and the elemental force of the album’s conceptual core, ‘Del Aire’ acts as an intimate echo chamber vicariously healing the listener’s wounds besides Lorena’s own.

https://jzunz.bandcamp.com/album/del-aire
https://jzunz.bandcamp.com/album/hibiscus
https://www.instagram.com/j.zunz
https://www.facebook.com/j.zunz

http://rocketrecordings.blogspot.com
https://rocketrecordings.bandcamp.com
https://www.instagram.com/rocket_recordings/
https://www.facebook.com/rocket.recordings.uk

https://swampbooking.com/
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