In today’s Under the Influence piece, we not only feature an incredible artist and her album influences but also premiere a track from her upcoming album Orphnē titled ‘As above, so below’. The Madrid-born, now Edinburgh-based pianist, singer and songwriter is Maud the moth, also known as Amaya López-Carromero.
Orphnē was produced, mixed and mastered by Jaime Gómez Arellano (Ulver, Ghost, Sólstafir, Hexvessel) and arrives jointly via Música Máxica, Nooirax Producciones, and La Rubia Producciones on CD and vinyl formats. CD (as well as digital format) is slated for worldwide release on May 1st with the vinyl release date being announced at a later date.
About the track, Amaya explains that, “The track serves as an introduction to the dark, rich and organic musical world of Orphnē. Rooted in classical, jazz, folk and heavier and darker sounds ‘As Above, So Below’ addresses the inheritance and circularity of trauma of South European women and culture.”
It’s powerful track and we are very much looking forward to the album release.
Amaya shared with us a few albums that have greatly influenced her and her music. She actually chose four and had this to say about the process, “It’s really hard to choose only 3 albums out of all the ones which have shaped my musical language. My musical buffet of choice would produce a salad containing too many ingredients to list here. I’ll try to pick out three albums which amongst all these keep coming back to me and resonated deeply with the way in which I process and write music.”
Listen to the new single and read about her influences below…
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JARBOE – SACRIFICIAL CAKE (Young god records, Alternative tentacles 1995)
I admittedly came late to the party with this album as I had only, before then, listened to Jarboe’s work with Neurosis and early Swans (both of which I absolutely love). However Sacrificial cake is, to me, a masterpiece. The lyrics, the vocal harmonies, the sound textures, the song structures and most importantly, the way that the whole album is constructed, has a life of its own and is completely free from any constrain.
Listening to it front to back makes me feel like some extravagant army of riot grrrl-banshee-muses are being wired through the super conductor that is Jarboe, directly into our brains. There is an innate, female, archaic and completely savage atmosphere surrounding it all that I absolutely adore. This album was also extremely empowering for me, as an artist which keeps being forced into boxes I don’t really identify with or care for, to stick to my gut and continue to write music that is deeply connected to my subconscious.
ALICE IN CHAINS – ALICE IN CHAINS (Sony Music Entertainment Inc. 1995)
My favourite band for big part of my teenagehood. Specifically, this album very strongly defined my musical taste towards thicker and heavier sounds and most of the rock and metal I listen to now and at that time came across as something quite innovative. I’ve always been very strongly drawn to their vocal harmonies, and the awesome songwriting skills.
ULVER – THE MARRIAGE OF HEAVEN AND HELL (Jester records 1998)
There is something magical about this album. I feel it’s the fact that the music was written over pre-existing lyrics/poems (always a winning strategy) and that Ulver were right at the hinge of their full-on exploratory endeavor. If there ever was a thing as non-experimental Ulver, that is.
I love this book and William Blake’s approach to art and living as an artist. Ulver’s music here just adds to that extra madness in a similar way in which the Jarboe album does; allowing the muse Blake to take control and manifest its true nature in a semi-magical way.
DEBUSSY – MASQUES (Unknown – 1905)
Angry Debussy at its finest. Together with sad drone-y Ravel, probably my favorite composers of all time. I had a hard time choosing between this and Gaspard de la Nuit by Ravel, but eventually went for this piece as it was such a big influence at such an early age. My piano teacher recorded this tape for me with some more modern piano works, like Mussorgsky and other pieces I was meant to learn and of course payed no attention too. I became obsessed with this Debussy piece which was way beyond my skill and would listen to it over it in the family stereo at full volume when I was alone and getting ALL the chills. My first true metal experience.