Album Review: The Mood by Jorge Zamacona
Alright, let’s talk about The Mood, Jorge Zamacona’s 2013 release under Tardis Records. This thing is a wild ride through Electronic and Pop/Rock vibes with splashes of House and Techno. It’s got that sleek, polished feel but still keeps things raw enough to make you wanna move. Germany and Switzerland are listed as the countries behind this project, which kinda makes sense because—let’s be real—Europe just gets electronic music.
Now, the album kicks off with “The Mood,” and honestly? It sets the tone perfectly. The track has this hypnotic beat that sneaks up on you, like, before you know it, your head’s nodding and your feet are tapping. There’s something about the way Zamacona layers the synths—it feels both futuristic and nostalgic at the same time. You can tell he spent hours tweaking every little detail to get it just right. And yeah, sure, maybe the title being the same as the album name is a bit on-the-nose, but hey, when it works, it works.
Another standout for me is “Cuttwice.” (Or was it “Cut Twice”? Honestly, I’m not even sure anymore.) Whatever the spelling, this one hits different. It’s darker, edgier, with these pulsing basslines that feel like they’re vibrating in your chest. There’s also this weird little chopped-up vocal sample that pops in and out, and man, it sticks with you. Like, days later, I’d catch myself humming it while making coffee or waiting for the bus. That’s how you know a track’s good—it worms its way into your brain without you even realizing it.
Oh, and props to whoever did the artwork (shoutout to www.doyl.org). It’s minimalist but super striking, kinda like the music itself. Clean lines, bold colors—it all ties together nicely.
So yeah, The Mood isn’t gonna change your life or anything, but it’s solid. It’s the kind of album you throw on during a late-night drive or when you’re cleaning the house and need something upbeat but not too distracting. Honestly, though, what really stuck with me wasn’t any specific lyric or melody—it was how consistent the whole thing felt. Like, you could tell Zamacona knew exactly what he wanted to create.
Here’s the random thought to end this review: Listening to this album made me wonder if Jorge ever gets tired of people saying his last name wrong. Like, do people call him “Za-ma-co-na” instead of “Za-ma-con-a”? If so, dude deserves an award just for putting up with that.
