Munsha is the alias of Daniela Lunelli, an Italian singer, cellist, sound designer, performer and music educator based in Berlin since 2014.
She began studying piano at the age of eight. Soon after, singing and cello became increasingly her areas of interest, which culminated in 1997 by studying at the Conservatory of Music “G. Martucci” of Salerno. While still doing academic courses, she became involved in several rock, dark-wave and punk bands. During the years, contemporary music, avant-garde of the 1900’s and voice research were her main focus.
After graduating in Opera singing under the guidance of maestro Daniela Del Monaco and Multimedia Composition [M.A.C.M.], she attended workshops and continued education courses at the International Academy of Music in Milan, the Conservatory “C. Pollini” of Padua, with the vocal coach, Mario Castiglia and the cellist Riccardo Agosti, improving herself on classical music as well as on modern singing techniques.
Simultaneously, she started her training as an editor, sound designer, producer and post producer for movie and television, making contact with the most important Italian film production institutions such as Cinecittà, Fonoroma and International Recording.
At the end of her training as a multimedia sound designer, she has devoted herself entirely to the composition and performance of her own musical productions, being inspired by musicians like Dead Can Dance, Philip Glass, Steve Reich, Nine Inch Nails and Bauhaus.
She shifted to contemporary and electronic music and the research of new languages, testing new forms of “sound dialogues”, alternating on stage cello-voice performances with electronic live-sets.
Her double background, as an academic and as a performing musician, has created a style in which the rhythmic grit of rock music nestles and coexists in unconventional harmonic structures; concrete sounds merge into dark wave melodies; harmonic suspensions into electronics. The result is a complexity of sounds in which no element is protagonist, but each is essential to the existence of the structure itself: the rhythm parts appear and disappear to make space for noise and minimalist environments, in which the voice is the key factor, whilst simultaneously remaining an harmonic part of a whole.
Everything bounces like a ball; roles are independent, unrelated to space and time.
The subsequent recordings of 33 and Hybrid001 were the logical result of her academic studies and the experiences as a live performer.
33 was released in 2012, as an independent sound production, focusing on the connection between her “stalker number” [the number 33 has played a significant role in her life for as long as she can remember] and its link with history, mathematics, religion and so on. She performed the work as a game, walking on the timeline to the entry in her 33rd year: 33 days, each day a song.
Hybrid001 was produced in 2014, on the occasion of her first concert in Berlin. Every single CD has her own handmade artwork. This was meant to be a gift for each visitor of the performance.
The first official release came in March 2016. The EP Who Will Play After? was released by Perfect Entropy Production, recorded and produced at FarF StudiO.
A DELUXE EDITION contains the 4 songs of the original EP plus 7 remixes and reworks from other artists.
April 2017 she has published the album 2GATES, released again by Perfect Entropy Production.
Tofollow she released The conceit of Childhood  and the mini EP The Heavy Atoms .
She has composed for several stage-plays, dance performances and sound installations: Wald_Maschinen_Schlachthof Gebet , mixed_me EinMenschShow , Shining , Amen , Nex Generation – on a tale of Peppino Impastato , Disimagination – Rotture non programmate di un dialogo amoroso , Take Away – The Vox Burger , Abnormal , Divina Vasaia , Zanclide: Duality for solo voice , Scilla , Maquillage , Tattica 001 .
Also, she co-signed multidisciplinary productions like Affaticamento, Qualcuno voleva annegarvisi dentro, Come un lago senza fango, Sir, come un cielo d’estate sempre blu, Processionea, La Macchina Inutile.
Her music appears also in many compilation and cinematographic works as Polizeiruf 110 – Grenzgänger OST by Schneider TM, Solar Sound, Sc009: Glitch Compilation, All tomorrow’s children OST and the latest Uccellino Giallo movies.
Alongside her solo productions, she has committed herself to various B-side musical projects like 42WIREDBEASTS, Lopsided and the floating Soundscapes of Einstürzende Neubauten’s guitarist Jochen Arbeit, just to mention some.
From 2009 she joins Max Maffia & The Empty Daybox, an acoustic instrumental ambient band, with whom she released Happiness is a tree in 2012 and the EP A better place in 2015 via Daybox Records.
She also collaborated and shared the stage with Linda Sharrock, Bob Rutman, Steve Summer, Renato Rivolta, International Academy of Music in Milan, Hopek Quirin, Martina Bertoni, Grim [Group for Research and Improvisation], Tatwerk | Performative Forschung, Fine Art Academy of Neaples, Veronica Cruciani, Cristina Vetrone, Salvatore Gatto and others.
Besides live concerts and performing arts, audio pre- and post- production for films and television, have been intrinsic parts of her career.
Since 2001 she is also dedicated to teaching multiple musical disciplines and vocal coaching through the Cross-Over Technique.