Moura Premiere “Ronda das Mafarricas”; Self-Titled Debut LP out April 1

MOURA

Spanish heavy progressive rockers Moura are set to make their self-titled debut on April Fool’s Day through Spinda Records. The A Coruña-based five-piece start the album off with a gentle meditation of keys and guitar, Floydian in atmosphere but duly modern in meditation, and soon enough are off into a thickened earlier-King Crimson mediation, guitar and organ working together, then apart, then together again with an insistent rhythmic backing and a vocal reminiscent of Moura‘s labelmates and countrymen on the Southern coast in Algeciras, Atavismo and Híbrido.

Moura, whose progressive elements are nonetheless presented in across a manageable 38-minute/four-track LP stretch, are comprised of vocalist/guitarist Diego Veiga, guitarist/vocalist Hugo Santeiro, bassist/vocalist Pedro Alberte, synthesist/organist Fernando Vilaboy and drummer Luis Casanova, and to coincide with their proggy movements, which are maintained throughout the just-under-nine-minutes-each opener “Eira” and “Da Interzona a Annexia,” there come fervent doses of psychedelia and folk sounds. “Da Interzona a Annexia” dips particularly into the latter in its second half, with harmonized vocals in a melody derived from Galician folk — the scales will sound Middle Eastern to many ears — with a lead line of Hammond following that ends up in a run alongside the guitar that is likewise gorgeous and effective in blending the different styles already put on display. This is, it has to be repeated, Moura‘s first album.

After “Eira,” which the band also released as a single in 2018, and “Da Interzona a Annexia,” the flip to side B brings the longest and shortest tracks on Moura, respectively, in “O Curioso Caso de Mademoiselle X” (13:43) and closer moura moura“Ronda das Mafarricas” (7:04). Both manage to successfully highlight the aesthetic aspects that side A brought to the table, but push further along similar lines as well, with the fluidity and patience of “O Curioso Caso de Mademoiselle X” bringing a  stretch of molten drift in intertwining synth and keys as it moves into its second half after a duly flowing beginning, moving in its own time to a sweep of organ and full-toned guitar. The “full-toned” there should be read with emphasis, particularly as it relates to what VeigaSanteiro and Alberte bring to the proceedings.

As much nuance as there is in what Moura are doing throughout these songs — and there’s plenty — there is also no lack of tonal presence as well, and that’s no less true in the longer cut than on either of the first two pieces before it or even the one after, though “Ronda das Mafarricas” is something of a departure as well in terms of how it shifts the balance toward the folkish side of their approach, reminding early on of some of Death Hawks‘ proggy key-laced melodic glories, but keeping an identity in step with the rest of the proceedings here. The shift into the verse is smooth and led more by the vocals than it might at first seem, and as “Ronda das Mafarricas” smooths out — such as it does — it taps into some of the rhythmic bounce of “Eira” and that feeling of perhaps-courtly (in the King Crimson-sense) chase the album indulged earlier on. The finale fades into folkish percussion but the organ and guitar aren’t ultimately done yet and they surge back for a last measure or two of bookending in a final nod to songcraft that speaks to a strength that’s been underlying the material all along.

The lushness of combining two guitars, organ and synth speaks for itself throughout Moura‘s Moura, and as the record will no doubt serve as the band’s introduction to many listeners who take it on, they leave an impression of encompassing dynamics that are only further bolstered by the kinetic rhythm that’s being fostered by the bass and drums. As to how Moura might develop going forward, their combination of varying influences makes it harder to guess and thus more exciting to imagine the possibilities, but listened back through “Eira” on another go and making my way toward “Ronda das Mafarricas” once more — as the LP makes for easy repeat visits — I’m less inclined to guess how their sound might wind up than I am to enjoy what they’re doing now. Tomorrow can be tomorrow, then. Today, we dance.

I’m grateful to the band and to Spinda Records for allowing me to host “Ronda das Mafarricas” as a streaming premiere, as it’s obviously a special piece of the album and for the band generally. You’ll find it on the player below, followed by more background on the band from the PR wire.

Please enjoy:

MOURA is all about going into trance around the bonfire and get ready for the coven. Psychedelic rock, prog rock, traditional folk and lyrics in Galician go together in their debut album. Spanish band formed by Diego Veiga (vocals, guitars), Hugo Santeiro (guitars), Pedro Alberte (bass), Fernando Vilaboy (keys) and Luis Casanova (drums) give us the key to open ourselves and meet our souls once again, those ones that real life wanted us to forget.

Band members are not new at all in the Spanish music scene… Lüger, Jet Lag, Ictus, Guerrera, Saharah, Elephant Band, Fogbound and Holywater are some of the projects in which they were involved in the past. But the present is MOURA, a new band which is making a name in the scene very quickly. This can explain how they managed to play huge names as Resurrection Fest 2019 or Monkey Week 2019 even without any album on the market. 2020 will be their year for sure: debut album and many gigs (Esmorga Fest and Barcelona Psych Fest are already confirmed).

For their debut album, which is an excellent candidate to be part of many top albums lists at the end of the year, MOURA joined Spanish underground label Spinda Records (Viaje a 800, Híbrido, Bourbon, The Dry Mouths, Habitar La Mar…) and got surrounded by very close people and friends: José Gutiérrez (production, recording and mixing); Fernando Mejuto (mastering); Leo López (photography); and Hugo Santeiro (artwork).

Moura are:
Diego Veiga (guitarra, voz)
Pedro Alberte (baixo, voz)
Hugo Santeiro (guitarra, voz)
Fernando Vilaboy (órgano Hammond, sintetizadores)
Luis Casanova (batería, percusións)

Moura on Thee Faceboooks

Moura on Instagram

Moura on Bandcamp

Spinda Records on Thee Facebooks

Spinda Records on Instagram

Spinda Records on Bandcamp

Spinda Records website

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