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“Práctica de Límites” is a bold meditation on thresholds—geographical, sonic, and emotional. With roots in the political realities of imagined borders and the deeply personal process of creative transformation, this album by Señora invites listeners to reflect on where limits begin and dissolve. While not overtly didactic, it carries the weight of global tensions, refracted through experimental soundscapes that oscillate between mechanical precision and human imperfection. From reversed vocal fragments to unconventional rhythmic structures, Práctica de Límites is both a continuation of the introspective tone set by the artist’s previous album Fósil, and a forward-facing dive into a more kinetic, danceable language—one that never lets go of its emotional depth.
- What emotions or states of mind do you hope Práctica de Límites provokes in listeners?
If we’re going to imagine, I wish everyone would start feeling drugged with love and forget how absurd some of our beliefs are, like boundaries, success, merit… and if they also decided to build a huge bonfire and dance around it naked and drunk, that would be a good image. But for now, if they listen to it and like it, it’s already a big step.
- You reference sonic disturbances, stolen recordings, and roars—what is noise to you: chaos or information?
It’s easy to define noise as chaos but if you look a little closer, it reveals a whole spectrum of possibilities. From a production standpoint, especially with the tools we have today, noise becomes a rich source of information. There are layers and textures hidden within it that might not be obvious at first, but they can add incredible depth to a track. The key is being willing to manipulate it, explore it. If you do, you might be surprised by the emotional and sonic dimensions it can unlock.
- The titles Antiarmónica and Paralímite feel like neologisms. How do you title your work?
They are neologisms, I guess. But they probably won’t make it into everyday language. The titles came from the album’s core idea, where I draw a parallel between territorial and tonal boundaries. I wanted that concept to be reflected not just in the music, but in every aspect of the project, including the language. Of course, explaining it always makes it sound more absurd than it felt in the moment, but that’s part of the fun.
- How do you know when a boundary is worth crossing creatively?
I think if you’re truly seeking different results, you’re constantly being challenged to push boundaries. In that sense, crossing them becomes almost a necessity. I’m just one more apprentice like anyone else, shaped by the sounds and structures we’ve all been exposed to. Breaking away from that conditioning isn’t easy. Crossing a boundary and returning with something that feels both disruptive and meaningful is a delicate balance. But it’s a risk worth taking every time.
- What did you learn from past releases that shaped this new one?
It’s a bit of a cliché, but also the most valuable lesson: I’ve learned to focus on what I genuinely want to create, rather than what I think I should create. With each release, the way I approach the process becomes more calm and grounded. Expectations become more realistic and, strangely, that makes the whole experience more rewarding. There’s also a natural flow that comes with experience: the rhythm of work, communication, promotion. It all moves more smoothly now.
- How do you balance personal vision with the expectations of a growing global audience?
The part of the process I enjoy most is being in the studio, when a new idea starts to form and that feeling of connection returns. For that, you don’t need anyone or anything other than yourself and your studio. I think that’s the key: continuing to enjoy that moment is the only thing that will, if it’s meant to, lead to a global audience.
Or maybe that’s wishful thinking, and all I really need is someone to run my socials, take my shirt off, and flash a cheeky smile at the camera. I’m not entirely sure.
- What gear or software do you feel was essential to shaping the album’s aesthetic?
My setup is fairly standard, nothing too unconventional. I work primarily with Ableton Live as my main sequencer. Probably the analog synths that I use like Prophet Rev2, or Waldorf Pulse 2 are more present but there are some touches from the Behringer DeepMind 6 and Behringer Crave. I also rely heavily on a bank of samples that I always manipulate and reshape to fit my own sound.
- What’s your relationship to silence in music?
I remain silent when I make music
