We are ecstatic to announce that Lorena Quintanilla from Lorelle meets The Obsolete's journey as J. Zunz continues with her third solo release, and her second for Rocket Recordings, following the release of 2020’s ‘Hibiscus’.
'Del Aire' will be released on 24 June and you can watch the video made by Mexican artist Víctor Garay to the first track to be revealed from the album – the glitchy, rhythm driven, post punk of ‘Ráfaga’ above.
'Del Aire' is available to preorder from Bandcamp on Ltd Edition 'Yellow vinyl':
See J. Zunz finally on tour in Europe:
29 June / BE / Antwerp / Het Bos
30 June / DE / Mannheim / Der Mannheim Kult
02 July / IT / Padova / Yucca Festival
03 July / IT / Torino / LivingRoom
04 July / FR / Lyon / Le Sonic
05 July / FR / Paris / Supersonic
07 July / UK / Bristol / Rough Trade
08 July / UK / Newcastle / Cobalt Studios
09/10 July / UK / Birmingham / Supersonic Festival
12 July / UK / Birkenhead / Future Yard
13 July / UK / Manchester / The Peer Hat
14 July / UK / London / The Victoria
15 July / UK / Ramsgate / Music Hall
17 July / DE / Bremen / MS Loretta
19 July / CZ / Prague / Underdogs
20 July / CZ / Rožnov pod Radhoštěm / Vratnice
21 July / PL / Warsaw / Chmury
22 July / PL / Bydgoszcz / Mozg
23 July / DE / Dresden / scheune Blechschloss
24 July / SK / Bratislava / Kulturak klub
26 July / HU / Szeged / Jazz Kocsma
27 July / AT / Graz / Cafe’ Wolf
28 July / SI / Ljubljana / Gromka
29 July / AT / Innsbruck / PMK
31 July / BE / Kortrijk / The Pit’s
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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.
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