They say:
I’ve been a longtime fan of Mexican shoegaze duo Lorelle Meets the Obsolte, and when I’d heard that the band’s Lorena Quintanilla had a solo album forthcoming (her second, sadly I’d slept on the first) I was incredibly intrigued what would arise. J. Zunz sophomore LP is a haunted, complex record that pulls as much from industrial spaces as it does experimental and concrete nodes. The LP focuses keenly on Quintanilla’s voice — echoing through spaces that seem cavernous and dangerous in the same light. I asked Lorena to contribute a pick to the Hidden Gems series, quite anxious to hear what treasure she might unearth and I’m not in the least disappointed. She’s given light to a series of Latin American electronic music that’s been sorely lost from the cultural conversation. Her pick centers on the inclusion of Jacqueline Nova, with whom I was unfamiliar, but quickly became quite intrigued by. Read on to see how the record has come into Lorena’s life and the impact it’s had on her songwriting.
“There are four compilations called Música Nueva Latinoamericana which were released by Tacuabé in 1976 (these compilations have been reissued by the great bootleg label “Creel Pone”) and I highly recommend all of them,” offers Quintanilla. “The physical copies are hard to find, but recently I found out that Keith Fullerton Whitman from Creel Pone, uploaded all of them to YouTube. The second volume of this compilations contains three compositions. One of them is “Dynamus” by Eduardo Bértola which is like a science fiction beautiful journey, then comes “Humanofobia I” by Joaquín Orellana which is a political electroacoustic piece, denouncing through experimentation the violence in Guatemala, his country. Then you have the amazing piece “Creación de la Tierra” by Jacqueline Nova. I will focus on this piece as it was the first one that I listened to and the one that connected me to all this incredible music from Latin America,” she muses...
Read the rest here: Raven Sings The Blues
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