They say:
J. Zunz, the alias of Lorelle Meets The Obsolete‘s Lorena Quintanilla, released her debut album Silente in 2017, which melded fuzzy-or erstwhile intricate- guitars with textural synths. Since then, Lorelle Meets The Obsolete put out the highly praised De Facto in 2019, with it’s superb collision of swirling electronic manipulation and the duo’s guitar frenzies. As much as Lorelle… has been responsible for some of the most sonically adventurous psych experimentalism of recent times, Quintanilla’s own audiological worlds- new album Hibiscus especially- are just as innovative.
Although J. Zunz’s new album Hibiscus contains characteristics of De Facto’s woozy noise it also leans even further into a trance-y realm, as impressionably Quintanilla’s own sonic imprint as possible. Despite initially aiming to be a ‘stripped down’ scheme for Lorena, and while there is certainly a detectable ‘less is more’ impression, the general sound remains full, emotionally affecting; anything but skeletal. Overtime exemplifies this, with Lorena’s serene vocals and thoughtful words amid a beautifully minimalist arrangement.
The enduring cohesion and enjoyment of Hibiscus can be attributed, at least partly, to it’s hypnotic aural repetition throughout; creating a vibrant delirium for the ears. Over the seamlessly morphing eight tracks, Hibiscus truly encloses the listener in a singular sphere, the album’s central thematic current of intense resilience. There is minimalism mingling with massive walls of maximalism...
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