“’Finisterrae” is one of the cornerstones of Orphnē,” explains Amaya López-Carromero, the sole architect behind Maud The Moth. “Aesthetically, it reflects perfectly the dreamlike and archaic environment of the album in the form of a small fable or journey to the subconscious”.
“It is a fairly abstract song that deals with the internal conflicts of following an artistic career. Despite the fact that the first part of the song is quite dark and raw, and that it does not sugarcoat the pain and personal doubts present during the creation process, it evolves towards a much brighter place, with symbolic references to gardens, birds and seaside scenery. This second part of the song reflects the process of evolution, renovation and catharsis that I personally feel when writing and playing music, and which justifies and compensates for any of these tougher aspects.”
Founded in 2010, Maud the Moth serves as the pianist, singer, and songwriter Amaya López-Carromero’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) and The Inner Wastelands (2015) plus the live album, Live at the Reid Hall (2017), has toured in Europe twice (once with Portuguese electronic duo Ermo and another with Swedish classical folk-jazz collective House of Trees) and has more than three million plays on Spotify.