Heterogeneous Artist, active in the music industry since 2005, he moves effortlessly from jazz and funk to pop, ballad, classical, rock, and avant‑garde. Each release is crafted with ritualistic care—where chord progressions become emotional architecture and sound transforms into story. He has composed and arranged more than 100 songs, and has had the opportunity to perform with The Elise, Kanon, Sunsett, Kota, Ellie De la Fuente, Zona Rika, Phillip Vonesh, Andrea Dibitonto, Styuk, and The One & Only Imaginary Band.

 

Since 2025 he is a member of SACM (Sociedad de Autores y Compositores de México).

 

Rooted in a home‑based studio filled with symbolic tools and analog warmth, the label champions creative freedom, technical mastery, and timeless sonic exploration. His work balances meticulous arrangement and spontaneous performance, aiming to make every recording both intimate and expansive.

 

Beginnings – The Elise

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Allison Salazar, aka Zingerman, began formal musical studies at the Sindicato Único de Trabajadores para la Música in 2005 while forming her first rock and post‑punk band, The Elise, where she served as lead guitarist and vocalist. The group performed at major local nightclubs and cultural events across Mexico City, the State of Mexico, Monterrey, and Morelos — venues such as Hostel Catedral, Terraza Catedral, Zócalo CDMX, Black Room, Wizard, Gato Calavera, Foro Alicia — and at large festivals like Popo Park Fest and government cultural events. They reached a high level of popularity with covers like “Boys Don’t Cry” and “Jumping Someone Else’s Train” (The Cure), “Shadowplay” (Joy Division), “Purple Haze” (Jimi Hendrix), and “Johnny B. Goode” (Chuck Berry), as well as a couple of original songs, “The Funk” and “El Perrito” (both by Allison Salazar), until 2009.

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Kanon

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After The Elise disbanded, Zingerman joined the Brit‑pop band Kanon as lead guitarist and backing vocalist. They played private events throughout Mexico City and the State of Mexico, performing songs such as “Bitter Sweet Symphony” (The Verve), “Song 2” (Blur), “Golden Touch” (Razorlight), “Live Forever” (Oasis), and original material including “Paso a Paso.”

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Sunsett

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When Kanon’s final lineup dissolved in 2010, Zingerman began working with Kota, a singer and guitarist rooted in pop. Together they composed ten songs and received five additional tracks from producer Enrique Velázquez, totaling 15 unreleased songs intended to be narrowed to ten for a pop LP. They managed to record five tracks at the SACM studios before the duo split; songs like “Me Voy,” “Paso a Paso,” and “Tú Eres Lo Que Quiero” were well received by audiences.

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Zingerman

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After more than ten years of unsuccessful attempts to find musical partners and with the arrival of digital platforms such as Google Play Music, Spotify, and Apple Music — which offered monetary compensation for digital plays — Zingerman decided to work solo. She released three LPs (HIDK, Beat of The Earth, and Singles, B‑Sides, Lost Recordings, Instrumentals & Demos: 2010–2017) and more than ten singles on those platforms, drawing attention with tracks like “We Dreamed Each Other,” “Paso a Paso,” “Beat Of The Earth,” and “Listen To Them.” She reissued the Kota co‑written song “Me Voy” as part of a career compilation album, reaching over 100K plays on streaming platforms to that point.

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Ellie De la Fuente

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After releasing two albums in English, Zingerman began composing some pieces in Spanish. Musically inspired by Frank Zappa and David Bowie, she started working on progressive jazz pieces and love songs with catchy pop choruses. She also planned to revisit older English songs and translate them into Spanish in this new style, preserving meaning and respecting phonetics, aiming to record an “unplugged”‑style album with a jazz atmosphere featuring only four or five musicians for a 7–10 song set. New songs emerged such as “Azúcar y Sal,” “Coqueta,” “Ven,” and “Adiós, Adiós Amor,” among others.

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Zingerman has never considered herself a great singer but rather a vocalist; the melodic complexity of these new songs raised concerns about her vocal limits. To achieve better recording results and ensure the new melodies sounded as written, she began working with Ellie De la Fuente, a talented Mexican singer who could perform the new compositions note‑for‑note.

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Over three years they recorded three full‑length albums — Azúcar y Sal, Lullabies LP (Piano Version), and Once Upon a Time — released across all major digital platforms, with Spotify and Apple Music providing the greatest global exposure. They also produced 300 physical copies of the debut Azúcar y Sal, released two live EPs (Statu Quo and Statu Quo II (Acoustic Version)) and 24 singles, collectively surpassing 100K streams. To promote the first material they performed on stages in Mexico City and Canada, including Zombie Dinner (CDMX) and The Cathedral (Canada), and shared stages and studio time with artists such as Zona Rika, Phillip Vonesh, Andrea Dibitonto, and Kota.

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The One & Only Imaginary Band

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While Zingerman was working on Ellie’s fourth album, Ellie decided to retire from performing. Once alone again and needing to record and release the new album Looking For Harmony, The One & Only Imaginary Band was conceived. The project is a jazz and progressive rock band concept in which Zingerman handles compositions and records most instruments, retaining the lifelong role of lead guitarist but without fixed lineups for studio sessions, live shows, or audiovisual products. This approach aims to preserve a unique, ephemeral sound for each recording and performance, with one or several musicians remaining in the band for years or participating only for a single session or event.

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The album Looking For Harmony is scheduled for release in mid‑2026 on digital platforms and in select physical editions for collectors.