Marina Herlop

I started studying music at the age of 9 in my hometown’s, Piera’s, music school. I stopped playing the piano when I was 13 and barely played until the age of 20. By that time, I was studying Journalism and Humanities at Pompeu Fabra University, Barcelona, but I realized that a career in those degrees wasn’t going to fulfil me.

I kept going, with University, but went back to music, studying one year on my own, then two years in a music school. That got me ready to access the Professional Conservatory of Badalona. Next June, I will finish the Medium degree in classical piano. However, I would still like to keep on developing my technique as a piano player and singer through classical pieces.

Regarding my own music, I started making songs three years ago, in my spare time while playing piano, and with no initial goal of recording them. The tracks in Nanook are my first attempt as a composer: I have a little classical harmonic knowledge but I don’t apply any of it in the songs yet; they are created through no more than intuition and my aesthetic taste – only recently have I started training this intuition through composition clases.

When I had enough songs to make an album I felt ready to record them. This album is a first affirmation of myself as a musician.


These ten tracks don’t deliberately talk about anything in specific. I want to reflect nothing but my aesthetic criteria, so I leave the task of finding any real world references to the listener. However, I guess the album is inevitably a compilation of the emotional spectrum in which I have been sliding over the last three years, in a constant pursuit of musical fulfilment.

Cheesy as it might sound, the reason for entitling it Nanook is that I wanted to give this name to my first child. In some way this is the first time I am delivering something to the world that didn’t exist before.

The recording process of this album was made from February 14th to April 23rd 2016 in Adri González’s studio. He offered his gear and endless patience in exchange for just my enthusiasm. He will be highly responsible for any good things that this album might bring.

Denis Blais, James Rhodes and Steve Long deserve my most sincere gratitude as well for valuing these tracks and then giving me the opportunity to sign for Instrumental Records.

Also special thanks to Matías Rico, for creating an elegant cover and artwork when he had more important things to do, to Alex Harrington, for always finding the right words, and to all loved beings who musically supported me when this album wasn’t even an embryo.

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