About five minutes after I sent in this playlist, a mass email went out from Gimme Metal to reinforce the guidelines for how to make shows in terms of length and allowing room for promos, voice tracks, and so on. If in fact that’s more than coincidence, I won’t say I didn’t earn it, considering. Some of this stuff I’ve played before — Apostle of Solitude, Uncle Woe, Scott Kelly probably — but a lot of it is new too. If you’ve been on the site at all this week, you’ve probably already seen premieres for Soldat Hans, Uncle Woe and Ealdor Bealu (the latter today), and Moura and that new Geezer were recently featured here as well. You see? It’s all about cross-promotional synergy between varying sides of the massive corporate machine that is The Obelisk. We own Coca-Cola now, if you didn’t know. A recent pickup.
Keep an ear out for the shift from MWWB to Tau and the Drones of Praise. There’s some weirdo back and forth in the playlist here that I love, especially in that middle block of music. I tried to talk less and cram in as much music as I could. You know how it is. Next time, I’ll try to keep it to the established timeframe. I try to be good. And no, The Obelisk didn’t really buy Coca-Cola. Not that I would if I could, but I can’t even afford a can thereof, let alone the company itself.
Thanks if you listen, thanks if you’re reading. Thanks in general.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 03.18.22
Apostle of Solitude
Apathy in Isolation
Until the Darkness Goes
Crowbar
Zero and Below
Zero and Below
Geezer
Broken Glass
Stoned Blues Machine
VT1
Deathwhite
Earthtomb
Grey Everlasting
Daisychain
How Can I Love You
Different Shades
Moura
Baile do dentón
Axexan, Espreitan
Ealdor Bealu
Mirror Reflecting Mirror
Psychic Forms
MWWB
The Harvest
The Harvest
Tau and the Drones of Praise
Already Written
Dream Awake: Live at Roadburn Redux
Atlas789
El Despertar – Luz Y Sombra
El Despertar – Luz Y Sombra
Dark Worship
Culling Song
Death of a Saint
Scott Kelly & the Road Home
The Field That Surrounds Me
The Forgiven Ghost in Me
Famyne
Once More
II
Kaleidobolt
I Should Be Running
This One Simple Trick
VT2
Uncle Woe
We Plant the Seeds for Things We Know Will Never Grow
Pennyfold Haberdashery & Abbatoir Deluxe
Soldat Hans
Anthaupt
Anthaupt
E-L-R
Opiate the Sun
Vexier
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 1 (subject to change). Thanks for listening if you do.
Spanish heavy progressive rockers Moura release their new album, Axexan, Espreitan, on May 27, 2022, through Spinda Records. It is the second full-length offering from the A Coruña-based six-piece behind 2020’s self-titled debut (review here), and it finds the lineup of vocalist Belém Tajes (also percussion), vocalist/guitarist Diego Veiga (also organ on “Baile do dentón”), synthesist Fernando Vilaboy, guitarist Hugo Santeiro, bassist Pedro Alberte and drummer Luis Casanova inviting the listener across a cinematic opening three minutes in the instrumental “Alborada do alén” to a world of the band’s own making.
What unfurls following that willfully grandiose drone hum, building subtly with pulsations of synth to add texture and tension as it goes, is a cascade of heavy psychedelic and progressive rock, informed no less by Galician folk music than by the kosmiche. To call it gorgeous is underselling it. On a nearly per-song basis, Axexan, Espreitan changes its approach and presents new ideas, often directly adding to the track before it — as “Romance de Andrés d’Orois” does coming out of the intro — or working in immediate contrast, as with the brief “Cantar do liño” cutting short after two minutes-plus and crashing into the organ-laced bop-prog being taken for a lighthearted walk in the penultimate “Encontro cunha moura fiadeira en Dormeá,” as though the group were leading their audience along a wall of paintings and suddenly saying “now look at this!” with all due excitement.
We’re looking at — or hearing, to drop the simile — Moura‘s representation of Galicia as filtered through their own songwriting impulses. Axexan, Espreitan is presented with an air of homage as the far back vocals begin to cut through the wash of melodic drone and standout guitar strum of “Romance de Andrés d’Orois,” and that extends into everything the band does, from lacing violin in with the guitar that emerges after two minutes into the song — subtle nod to Colour Haze there before the three-minute mark — and with Galician-language lyrics and vocal melodies that call to mind the most serene moments Death Hawks ever had to offer, Moura establish a fluidity of purpose and sound that is lush in its detail, impeccably mixed, and masterful in its transitions from one moment to the next.
That is perhaps best emphasized in the three major movements of nine-minute closer “Lúa vermella,” rolled out across initial mystifying tambourine and a nylon-string acoustic guitar meditation, boasting a return of hurdy-gurdy and a folkish vocal before breaking at around three minutes in to chimes and a cymbal wash of organic experimental percussive ambience, touching back on the quiet guitar before a deeply satisfying, weighted march kicks in to serve as the apex of song and record alike, but it applies to the level of nuance throughout as well, as with the appropriately jazzy snare work on instrumental third cut “Pelerinaxes,” the re-emergence of string sounds at that song’s own crescendo or the blend of synthesized beats and analog percussion amid the chanting of side B opener “Alalá do Abellón,” never mind the duality of Axexan, Espreitan‘s side A launching with no vocals and side B doing basically the opposite.
There are layers, both of sound and presentation, enough to provide a ready listener with years of repeat listens. The motoriktakeoff of “Baile do dentón” (video premiering below) picks up from the still-controlled noisy surge at the end of “Pelerinaxes” before it and moves into a neo-space rock boogie that’s full of motion despite the calming vocal echoes laced over top. Thus do Moura engage multiple moods, peace and anxiety, amid the dynamic shifts that put keys over guitars in the mix and seem to pepper in various synth sounds — and, in the end, low-mixed bagpipes — as though called to do so.
The band’s arrangements are a highlight unto themselves, as represented in the aforementioned “Alalá do Abellón,” which follows “Baile do dentón” with a purposeful jump from one style to another, the ritualistic feel of the percussion and voices rising out of the early moments a boon to the atmosphere of Axexan, Espreitan as a whole even as they directly contradict the aesthetic that came before. A radical shift, and one not every band would be nearly brave enough to try, let alone pull off. With a screech and stomp, “Alalá do Abellón” takes off at 2:47 and seems to preface the ending to come in “Lúa vermella” with its consuming volume push, but there’s still the peaceful motion of drums under mellotron in “Cantar do liño” and the crash into “Encontro cunha moura fiadeira en Dormeá” jamming on pastoralist/earliest King Crimson as Veiga and Tajes share vocals and trade off lines in likewise thoughtful fashion ahead of the show of range and scope that is the finale.
And for what it’s worth — plenty — “Encontro cunha moura fiadeira en Dormeá” does have a linear build of its own, and its mellower initial stretch results in weighted, subtly technical turns of rhythm that make for exciting heavy-prog even as they drop out and the already-noted tambourine announces the arrival at “Lúa vermella.” Most of the second half of the song — beginning with the harder-distorted guitar at 5:02 into the total 9:14 — is dedicated to the last central, nodding groove, but even here Moura haven’t lost the thread, with a throatier vocal taking hold amid the moderately-paced roll, and a setup such that as other elements drop out, it’s the residual guitar noise, drums and strings that end the album. Listening to it, you can almost feel the change in the air as the band puts their instruments down, having said what they very much apparently needed to say.
If there is beauty in truth, then Axexan, Espreitan is beautiful. Across its somehow-humble 40 minutes and eight songs, it encompasses a personal expression of identity while remaining loyal to notions of craft both traditional and forward-thinking, sometimes at the same time. As an accomplishment for a band on their sophomore long-player, it is stunning in how it brings together complex ideas and fluidity of rhythm, melody and execution, and it gracefully conveys its depth of emotion and purpose in each moment, each turn it brings about.
There are any number of hyperbolic statements I could make here. I could tell you records like this don’t happen every year. That’s true. I could say that not every band gets to do something this vital at all in their career. That’s true too. I could go on and on and on about Moura taking on past and future alike, or call it one of the best albums of 2022, which it almost certainly will be when the year is done, or any of that kind of stuff. I could do all of that. But until you open your mind and your heart to it in its entirety — yeah, I’m premiering a track and telling you at the same time that a single track doesn’t cut it in representing the album; sorry, I do what I can — there’s just no way to actually know it yourself.
If I’ve earned any trust at all in the 13-plus years I’ve run this site, please believe me when I tell you the world is a better place with this music in it and I think you should hear Moura‘s Axexan, Espreitan.
Recommended.
Enjoy “Baile do dentón” below, followed by preorder links and credits for the clip, etc.
Tracklist ‘Axexan, espreitan’: 1. Alborada do alén 2. Romance de Andrés d’Orois 3. Pelerinaxes 4. Baile do dentón 5. Alalá do Abellón 6. Cantar do liño 7. Encontro cunha moura fiadeira en Dormeá 8. Lúa vermella
Music by Moura, featuring Irmandade Ártabra Lyrics by Diego Veiga
VIDEO CREDITS Recorded en A Tobeira de Oza (Alpendre Cultural) Produced by Spinda Records Directed, filmed and edited by Goluboff Written by Diego Veiga & Hugo Santeiro Associate Producers: Alba Roca & Tania Vila
Supporting Cast: A.C. O Amanexo (María Elena Rodríguez, Andrea Sambad, Natalia María Rodríguez, Fuco Río, Jennifer Portela and Ana Uzal)
Special thanks to Pablo Soto Goluboff, Diego Veiga, Hugo Santeiro, Fernando Vilaboy, Luis Casanova, Pedro Alberte, Belém Tajes, A Tobeira de Oza, Marcos Cenamor, Raúl Lorenzo, David Espasadín, Juan (Malte), Farinarium, Nancy Álvarez, Tania Vila, Alba Roca, Fernando Voyeur, Enrique Otero, Necho Aguado, Tere García, Miguel Vázquez, Antonio Prado, Jota Gutiérrez, Álvaro Gallego, A Cova Céltica, Sergi A. Castells.
MUSIC CREDITS Diego Veiga: vocals, organ Hugo Santeiro: guitars Fernando Vilaboy: synths Luis Casanova: drums Pedro Alberte: bass Belém Tajes: vocals, percussion
+ Irmandade Ártabra: Fabio Mahía: vocals Miguel Vázquez: percussion and bagpipes
Produced by Moura & J. Gutiérrez AKA “Guti de Cangas” Recorded by J. Gutiérrez in Summer 2021 in Moruxo (Spain) Mixed by J. Gutiérrez in Autumn 2021 in Cangas (Spain) Mastered by Álvaro Gallego at Agmastering (Spain) (C) & (P) 2022, Spinda Records
Posted in Whathaveyou on February 17th, 2022 by JJ Koczan
There’s beauty and complexity across the span of Moura‘s Axexan, Espreitan that even those who loved their first album could’ve hardly anticipated. That first album, their 2020 self-titled debut (review here), wanted nothing for progressive psychedelic gorgeousness, but from the foreboding synth intro “Alborada do Alén” to the folkish chimes and organic melody-making in the early going of closer “Lúa Vermella,” Axexan, Espreitan resounds with an individualized approach to the stylistic elements being blended together. Iberian folk, krautrock, space rock, heavy soul and into the well-beyond of sound it goes, all the while remaining unpredictable and unbound by genre. It is a lush tribute to their Galician home.
Below you’ll find the cover art and tracklisting, some background about it and a teaser for the record. If preorders are up, I haven’t seen them yet, but keep an eye out for more on this one. It’s a Spring release on Spinda Records, in whose Grados. Minutos. Segundos. (discussed here) splits-compilation-box-set Moura have also taken part.
For now:
Moura – Axexan, espreitan
After releasing their debut album in 2020 and the single “Muiñeira da Maruxaina” in 2021 psych-prog-folk rockers MOURA will be launching their second album ‘Axexan, espreitan’ in Spring 2022 via Spinda Records. Today we share with you all the artwork, the track-list and the concept of the album. On their own words:
[…] ‘Axexan, espreitan’ is a conceptual journey through memories, personal experiences, traditions and collective rituals of the Galician people in the North West coast of Spain. A peek into the subconscious that gives voice to that heritage which “contemplates and lurks” in silence.
The front cover of the album is a collage of two interpretations in watercolour by the artist Hugo Santeiro of photographs courtesy of Museo do Pobo Galego […]”
Moura are: Belém Tajes (voz, percusións) Diego Veiga (guitarra, voz) Pedro Alberte (baixo, voz) Hugo Santeiro (guitarra, voz) Fernando Vilaboy (órgano Hammond, sintetizadores) Luis Casanova (batería, percusións)
Posted in Features on June 16th, 2021 by JJ Koczan
Grados. Minutos. Segundos. is a multi-volume compilation assembled at the behest of Spinda Records, highlighting the label’s native Spanish underground scene across a series of 12 split seven-inch vinyls. Set for release between last Friday and next Spring, the pressing is one-time-only, limited to 240, hand-numbered and though I generally don’t post sale links like, available right here: http://spindarecords.com/grados-minutos-segundos/
I’m not the type to tell you outright to spend your money. I know everyone works hard and cash is hard to come by and capitalism is terrible, etc., but the reason that link is there is because I respect the living shit out of this project and the obvious love that birthed it. Spinda Records is no slouch when it comes to promoting Spanish heavy anyhow, but Grados. Minutos. Segundos. brings that to a different level entirely. Consider — it could’ve probably just been a 3LP box. Or a double-CD or something like that. But the focus here is so much on the lushness of presentation, and on highlighting the work of the bands. Every act is given their own space. It’s a beautiful concept, and if you snag one of these, consider yourself lucky.
My hope is that as each installment of Grados. Minutos. Segundos. comes out, I’ll have a corresponding track-by-track from the bands. You’ll find the first one below. My sincere thanks to Berto Cáceres from the label for putting it — and the compilation — together.
Enjoy:
Grados. Minutos. Segundos. Track-by-Track Pt. 1
MOURA – “Muiñeira da Maruxaina”
“[…] The “muiñeira” is one of the most popular Galician traditional music genres and we wanted to make an approach to it from “krautrock” and psychedelic perspective, respecting some of its characteristics. Lyrically, the song is about the folktale of the Maruxaina, a mermaid who lives in a cave in an island in San Cibrao (north coast of Galicia) and helps or confuse sailors by playing a horn or with her singing, depending on different versions of the tale. Galician traditional percussions were heavily used in the song and an arpeggiator to keep the pulse of the trance along with the guitar riff […]”
ROSY FINCH – “Black Lodge”
“[…] As a big fan of ‘Twin Peaks’, I always had the idea of turning into Laura Palmer and living inside a dark song. In “Black Lodge” you can see many references and symbology of Lynch’s universe. We tried to reflect the anguish but also the seduction undertaken by the characters. But not only the video has been inspired by the TV series; lyrics describe some moments and iconic quotes of the show but always through Laura Palmer’s voice […]”
ADRIFT – “Abracadabra”
“[…] On this track we don’t play around with long progressions as we are used to. Instead we play heavily from the very first second and there’s no time to relax at all. Going against our usual way of writing songs, we chose a couple of riffs and wrote the whole song around them without thinking too much and having fun trying not to get complicated. The lyrics talk about the current situation and how some media and “important” people manipulate the reality in order to control the people and do what they want with them. They’re kind of magicians doing tricks to make you think as they want you to think […]”
ADRIFT – “Lush Lands”
“[…] Inspired by the book ‘Heart of Darkness’ by Joseph Conrad, this tracks talks about a situation in which you decide to go to the deepest darkness looking for somebody and how you can finish feeling attracted by the horror you see on your way to that person. This track stars as a good exercise of space rock, full of delays and reverb, to finish as a huge and repetitive wall of noise. It’s like a mantra to get into trance […]”
MONDO INFIEL – “Estigmas”
This track talks about those close-minded-people who are not able to see further than their own shoes, not being even able to question their way of thinking or understanding that not everyone else will think the same way. This can continue for years and makes them feeling attacked by others just for the fact of them having a different point of view about religion, politics or culture. Type O Negative and Killing Joke inspired the song a lot, although it doesn’t sound to those bands at all – I wish Pete Steele or Jaz Coleman took care of the vocals in the song.
PARTÍCULA – “La Fosa”
From the deepest and darkness roots of heavy psych and the most powerful ’70s hard rock, this track emerges like a cathartic experience, where frustration and hope return to our reality transformed into an authentic iron fist, ready to take you to another dimension.
MEDICINA – “Vilo”
This songs talks about the uncertainty and anxiety caused when things are out of your hands. This can happen on any aspect of your life. We do not attach to any sound in particular when writing but this reminds me to Steve Albini and Big Black.
When Moura released their self-titled debut (review here) earlier this Spring through Spinda Records, that offering already found their heavy progressive rock steeped in influences of Galician folk and psychedelia, so it’s not a surprise to find them doing likewise with a quick-turnaround follow-up single. But “Quen Poidera Namorala,” which is based on a poem by Álvaro Cunqueiro (1911-1981) and draws on an arrangement from 1975, plays to a mellower kind of vibe and was recorded by the band using I guess their phones or tablets or whathaveyou and mixed altogether to make the video below. You’ll note the clip is tagged with “versión confinamento” — which translates from Galician to, of course, “confinement version.”
And naturally, the confinement is a result of the COVID-19 pandemic which has proved to be the cause of much restlessness on the part of bands around the planet, resulting in videos like this one — perhaps not as well edited, but still of the members-shot-individually style — as well as live streams, virtual Q&A sessions, listening parties and so on. It is a challenging time to reach an audience, and especially for a band like Moura, releasing their debut full-length, it’s a moment where reaching their audience is especially pivotal. If a video for “Quen Poidera Namorala” is one more means of doing that as well as being a complement to the album and as well as being melodically gorgeous, with a steady line of keys behind the acoustic guitar, bass, traditional percussion and melancholy vocals, then all the better.
It’s not as lush as are parts of the narrowly-preceding album, but it suits the quarantine spirit and the folkish intent that it shouldn’t be. If nothing else, it feels of the moment in which it was made, which is all the more impressive considering the roots of the song itself.
I hope you enjoy:
Moura, “Quen Poidera Namorala” quarantine video
Moura on “Quen Poidera Namorala”:
Despite the many technical and personal difficulties arising from the COVID-19 pandemic that, among other things, prevented the participation of Luis Casanova (drums), this is our free adaptation of the poem “No niño novo do vento” by Álvaro Cunqueiro set to music by Luis Emilio Batallán in the year 1975.
Recorded with mobile devices and mixed by J. Gutierrez in May 2020.
Moura are: Diego Veiga (guitarra, voz) Pedro Alberte (baixo, voz) Hugo Santeiro (guitarra, voz) Fernando Vilaboy (órgano Hammond, sintetizadores) Luis Casanova (batería, percusións)
There’s some stuff here that was recently premiered — Moura, King Buffalo, the Thunderbird Divine track that went up today — but I’m also bringing in a few things from the Quarterly Review that I’ve got slated for next week. That’s stuff I haven’t had the chance to write about yet like Mindcrawler and Lemurian Folk Songs, Ritual King and Dystopian Future Movies. I know I’m biased here and I always say this — if you dig back through the old podcasts, I used to say it about those too, but I think it’s a pretty good show.
It was a little weird cutting voice tracks for it yesterday though, I’ll say that. Yeah, it’s awesome new music and that’s always great to be excited about, but it feels a little lightweight to be stoked on cool songs when there’s a pandemic on and obviously bigger issues at play. The way I look at it is music is ultimately that escape that people need and if I can maybe give someone something they haven’t heard before and might dig, then I guess that’s not nothing. It ain’t driving a truck for Meals on Wheels when it comes to lending a hand — I should be doing that shit, as should we all, all the time — but it’s what I’ve got, anyhow.
Thanks for listening if you do, and if you see this and don’t listen, then thanks just for reading.
The Obelisk Show on Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 3 (subject to change). Thanks for listening if you do.
Posted in audiObelisk on February 28th, 2020 by JJ Koczan
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 “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 Veiga, Santeiro 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)
