Sunday Spotlight: Lunir

Bongo Wide Shot

Hello! Who are you, where are you from and all that good stuff.

Hey there! We are LUNIR, a future-soul two-piece from Edinburgh and Augsburg (Germany).

Tell us a bit about the music you make.

We use the term ‘future-soul’ because it’s super vague, but let’s say basically it’s acrobatic vocals over adventurous rhythms under extended chords around a mildly ambiguous tonal centrality. We listen a lot to artists like Hiatus Kiayote, Royal Canoe, Anderson.Paak, Feist and so on and that probably comes across somewhat in our music.

When did you start and what made you want to start making music?

We started semi-accidentally a few years ago, playing a spontaneous 28-day run of small shows in Edinburgh, and sort of fell into being a musical entity. We then went through a few name/personnel/genre changes before finally settling on what we are now.

 

Stage or studio?

I think right now, as we’ve only just started playing as a two-piece live, so every gig so far has been terrifying, it’s kinda hard to tell which we prefer; Becky particularly feels like she performs much better live on stage, but then we also love the endless control in the studio, being able to experiment freely and make an absolute mess of sounds. I love bitcrushing stuff.

What gear do you use to make your tunes?

We have quite a random assortment of things to play around with at home, which is where we do most of our recording and live production. Almost all of our E.P. was recorded in our living room with the Aston Origin LDC released last year, through a Presonus Firepod into Logic (my ProTools iLok is yet to be repaired after having a little accident). Keys were a combination of Nord & Logic instruments, our upright Geissler piano, a lovely Indian harmonium that has since moved on to Garry Boyle’s studio, and the on-board sounds on the crazy Ototo synth, which allows you to use anything conductive to create a MIDI keyboard (for example, 11 oranges and a lime). We recorded guitar with the Origin through a little Laney Cub 12R; the breakup on the <1W channel of that amp is nicer than I’ve heard on any amp I’ve played! Vocals, percussion and barking were all recorded with the Origin in the most fluttery bedroom of all time. A lot of this stuff was then bitcrushed to hell by Graeme Young at Chamber Studio.LUNIR - Promo Shot 1Live, we now use quite a lot of the same stuff, especially as we now play as a two-piece: Becky’s guitar goes through an ancient Korg pedal with the sweetest vibrato, and a Marshall Regenerator reverb, into the Laney amp; her Nord Piano 2HP with a few home-made sample sounds; vocals go through a Digitech JamMan Stereo looper and the TC Helicon Voicelive Play vocal pedal; I use the awesome little Ludwig Breakbeats kit (just kick, floor tom and snare) that I’ve removed the kick reso head from and phattened with a weird spongey kick beater, some fabric on the floor tom and an old t-shirt on the snare with the heads tuned really low and the snares super loose; a set of 50-year-old Kruts hihats with holes in them that are so trashy they just sound like nonsense; the Alesis PercPad for MIDI sample triggering; an AKAI MPK Mini for my left hand to play through Logic’s Mainstage live programme, using some of the synths from the EP and some other homemade sample instruments (including a bitcrushed Indian flute through an arpeggiator). When it’s written down this all sounds like a mess but actually I think it works.

And what is your choice bit of gear and why?

For me, that Aston mic. It just seems to make everything sound great. For Becky, the vocal loop pedal. It has really allowed us to do a lot more, and feel a lot more free, live.

Where can we check out your tunes?

Our E.P. Flux is on all the usual platforms (Soundcloud, Spotify, iTunes etc.), and we’ve just recently released a live session video which you can check out either on our facebook page or our YouTube channel!

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Linda

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