Released on: 25th June
The title Orphnē has its origins in Greek mythology. The original character, who was also known as Styx and Gorgyra, was a nymph who lived in the Grecian underworld Hades. Maud the Moth explores the concept and meaning behind Orphnē with gusto on this Amaya López-Carromeros‘ third album under the moniker.
The Moth takes the penchant of Greek tragedy and successfully transposes it into a whimsical and foreboding collection of haunting and umbral arias. Focusing on soft piano melodies that are dictated within a cacophony of otherworldly rhythms and tremulous vocals. Maud, intentionally or not, incites the embrace of darkness with her diabolus compositions. Which allude to a safe space for the ego to wander unfettered by policies and dogma. Orphnē is inspirational.
It would be easy to draw comparisons between Maud and Tori Amos. And especially some of Amos’ later works. But that would be unfair as the similarities lie in timbre only. Orphnē while filled with insouciant counter-melodies brushes up on dark rock rhythms with dance like qualities. There is an emphasis on jazz when this occurs and although it keeps the deviant energy pumping it feels unnecessary as an accompaniment and superimposed.
Orphnē is an album driven underground. Using the unique blend of Gothic Jazz to create a context of both comfort and exclusion. A great shadow in a sea illuminated alone by stars. It is a beautiful yet challenging work of art that has moments of avant-garde expression juxtaposed by its etymological title.
8/10
