Loop.CL (CL)
Federico Durand is an Argentine musician, sound artist, and composer, regarded as a leading figure in the global ambient music scene. Although a native of Muñiz, Buenos Aires, his musical practice has largely taken shape in the Córdoba mountains (La Cumbre)—a natural environment that has profoundly influenced his work. He is currently based in Buenos Aires. His extensive discography has been released since 2010 on renowned labels such as 12k, Spekk, Home Normal, and Noray Records, while Pudú serves as his personal imprint, through which he releases handmade, limited-edition cassettes exclusively for his tours.
Durand stands out in the ambient scene for translating his sensory experiences of nature into sound. By highlighting a simple beauty grounded in silence and color, he leaves open spaces for the listener’s imagination through tape loops imbued with a rugged hiss, shimmering notes crafted on analog synthesizers, and field recordings.
In *La Manzana Mágica* (The Magic Apple)—released on Taylor Deupree’s 12k label—Durand pays tribute to his personal collection of “Cinderella stamps,” which evoke childhood tales and are considered cult objects by collectors and artists alike. This album consists of 12 tracks, the titles of which reference the geographical origins and years printed on these stamps.
Suddenly, I find myself wandering through “Essen 1887,” the fourth track on the album, which evokes a pristine soundscape of pastel hues and images of children playing joyfully in a beautiful garden. Durand’s sonic framework flows silently and unhurriedly; he weaves each note as if observing a plant, a tree, or a garden with rapt attention. These subtle images and synthesized notes unfold precisely at the threshold of twilight.
Further along, “Hansel y Gretel” fills with a myriad of birds singing enthusiastically, while nostalgic melodies gently fade away. For her part, Federico’s daughter, María Luisa, lends her voice to “Jul 1948,” a beautiful lullaby that is deeply moving in its candor. Meanwhile, in the title track, tape loops repeat a distant note—somewhat dusty and halting. Finally, “Jólin 1960″—the track that closes the album—was originally recorded ten years ago and rediscovered amidst the bustle of a move. Through this journey, Federico invites us to pause and admire natural beauty, silence, and a dreamlike narrative that evokes that innocent, pure childhood.