MAUD THE MOTH - Orphnē Out on June 25th! (FFO Chelsea Wolfe, Anna von Hausswolff)

Maud the moth serves as Amaya’s personal alter ego; a conduit for her personal life experiences, and draws on a wide-ranging musical background, including traditional folk, jazz, classical, avant-garde and rock. These disparate influences are carefully woven into a rich, coherent and heartfelt musical tapestry with an eclectic and unique personality, which has led Maud the moth to the participation in a wide number of festivals (Jazzaldia, Noroeste, Celtic connections, Glasgow International Jazz Festival, Hidden door, Noite Branca, Eden, etc.) and venues both as a solo act and supported by a band.


Maud the Moth has released two full-lengths so far:Home Futile Home(2011) andThe Inner Wastelands(2015) plus the live album,Live at the Reid Hall(2017), has toured in Europe twice (once with Portuguese electronic duoErmoand another with Swedish classical folk-jazz collectiveHouse of Trees) and, on a side note, hasmore than three million playson Spotify.


Amaya currently lives in Edinburgh and has just finished her third full-length album,Orphnē, which has been produced, mixed, and mastered byJaime Gómez Arellano(Ulver, Ghost, Sólstafir, Hexvessel).


´Orphne´(Ὀρφνή)  or "darkness", was a mythical nymph that dwelled in the underworld of ancient Greek mythology. This term shares a linguistic root with the word “orphan” (ὀρφανός), which originally meant fatherless, bereaved or desolate. By drawing a connection between these two terms,Orphnē reflects on the rootlessness and nebulous identity of the émigré, fragmented woman. Traditional family roles and familial support are seen as a light that is absent or has been exhausted, fostering a sense of desolation and alienation from society.


The aesthetic choices in the composition, lyrics, and arrangements are heavily inspired by late romanticism, art-deco and surrealism, such as Böcklin’sIsle of the Dead,Métamorphosesby Segundo de Chomón, or Ravel’s folk-inspired piano works.Orphnēescapes from the mundane and dives into a fantastical and unknown world. This sets the scene for an exploration of the self, trauma, loss and emotional paralysis through a fabulist approach.


The self is defined as removed from the material plane and inhabits the world and the universe as conceived by the ancient Greeks, where the earth is enclosed in a firmament and held up by the pillars of earth. The self exists in a state of blindness and helplessness and can pass through the porous boundary to the underworld, which is only a few meters below our feet and not exclusively the realm of the dead.



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Cover Photo: Lucinda Lewis 2015



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