Review: J. Zunz ‘Obsidiana’
When not being one half of the incredible Mexican duo Lorelle Meets The Obsolete, the artist otherwise known as Lorena Quintanilla can be found creating under another guise. As J. Zunz, she explores the realms of sonic obscurity to transcendent effect.
Taking the backbone of concepts that can sometimes be heard in the mix of the duo’s outpourings, she embraces those more hypnotising rhythms, transforming them into complete works that utilise ambient space in a more trance-like state.
On this newest release, it is easier to decipher where the duo ends and the solo project begins. The expanse between the two entities is so vast aurally that there isn’t really any confusion between the pair. Titled Obsidiana, it is a nine-track, dreamlike exploration of what it means to let go in the moment and allow the sound to take you away effortlessly.
It isn’t as abrasive as Lorelle Meets The Obsolete can be, opting instead for opulence over awkwardness. There is a dance-like quality to it all, and as such, I don’t think this will be to the tastes of a fair few Sleeping Shaman devotees. By the same token, if you are open to experiencing new things, this may well be right up your metaphorical Strasse.
Opening with Oscurecer, a track which is barely there, the quiet drone of electronic white noise subtly fills the speakers with density. It offers so little and yet does so much. Rolling on for almost three minutes, it breaks into track two, Final, and the shift is sizeable. It sees the first of two appearances for Freddie Murphy, who also features on track six, Exorcizo Tu Voz, with both offering sizeable contributions to the album’s scope. Upping the intensity of the mood, Murphy is the only other main contributor here, as it’s mainly a solo project throughout. As the track progresses, so too does the atmosphere. By its climax, even though the music has dropped back, the damage has been done, and any chance of an easy ride has all but dissipated.
dreamlike exploration of what it means to let go in the moment and allow the sound to take you away effortlessly…
Track three, Padre, moves us on to a more monotonous vibe, and as it expands, so too does the creativity of the artist. It throbs as it goes, and the accompanying vocal is sultry and sensual. It has an alluring nature, and at its height, is probably one of the sexiest outpourings I have heard committed to record in a very long time. It oozes sleazy eroticism throughout. Silvia changes the mood swiftly. Even though those throbbing beats can literally still be felt, the inclusion of abrasive guitars and heightened percussive textures gives a somewhat industrial sound. It has a modern-day Nine Inch Nails vibe to it than it does Lorelle Meets The Obsolete.
When Imago finally rolls in, it entirely upends the opus, and with it, we discover a completely different side to J. Zunz. The muted notes, otherworldly vocal, and electronic resuscitation breathe new life into the project as that more sombre side of the artist reawakens. It’s not unpleasant and bridges the gap between harder and softer eloquently. Exorcizo Tu Voz does nothing but reinforce this second wave of tracks. As it plays through, its pensive sensuality brings with it feelings of dark wanting. There’s a yearning to it all, and even when the pace quickens and the intensity is elevated, it is still unabashedly sexy.
Track seven, Osiris, yet again morphs things, and as it proceeds, it feels far more dance-oriented in nature. It’s here where I draw a clear comparison to Lorelle Meets The Obsolete; having seen the act live a couple of times, this track vividly reminds me of those evenings. The throb of the pulse, mixed with another sultry vocal performance, would easily be at home at any show, and it’s a genuine pleasure to experience it here. Sol then drops us right back to the vibe of the opening track. With its muted tones, it feels like a restart more than a penultimate album closer. The restrained and withheld desire to progress too swiftly sees the piece organically evolve, and as it does, other elements drop into the mix.
The album’s closer, Esclarecer, ties things up eloquently, bringing us full circle to deliver us back to the pensive nature that welcomed us at the beginning. Providing nothing more than a footnote to wind things down, it’s the ideal way to finish an experience which is as interesting as it is minimalist at various points throughout. A true masterclass in proving that art takes many forms, this newest work by J. Zunz is genuinely one of a kind.
Label: Rocket Recordings
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Lee Beamish
