All frequencies for Basque dance
The Neoma group leads to the percussion of tradition, with a careful electronic mold. Leire Etxezarreta, Amets Ormaetxea and Irati Gutierrez de Arrasate, Garazi Otaegi de Asteasu, Eneritz Aulesti de Zarautz, Maria Lasa de Zizurkil and Alaitz Eskuero de Deba are the seven members. They are all trikitilaris and panderistas, and all of them participated in the Kepa Junkera & Sorginak project.
When the project they had with Junkera broke, the seven girls together began Neoma, “the new moons.” With percussion and trikitixa, they have launched a project of great energy and complicity.
In this first work, which consists of seven songs, trikitilaris melodies and electronic touches are mixed, at the rhythm of traditional percussion, but always in the modern form.
Although the references are there, it doesn't follow the line of Baiuca or Rodrigo Cuevas, for example, and it gives me a little bit of shame. I believe that Zeta's song conflict with Erramun Martikorena is similar. Based on tradition, without the air of tradition.
Etxahun Iruri said when he heard Mikel Laboa: “These songs are buried alive.” Because the guitar took its air out of Iberian singing. And the air and the bell have been the essence of the Basque: savage harmonies and not measured in tonality and ambiguous tempo. Tradition was Maurizia's punk.
Oteiza explained in his sonorous archive how he admired U.S. blacks, increasingly black, regardless of their style, because their roots were increasingly adjoining: “I am black,” I was in audio!
How to be Basque in different styles? Perhaps this is not the most appropriate question, since it only highlights the risk of proposing an essentialist aesthetic. But maybe the question will help us love the core of tradition and not just the skin.
This first work of the Neoma group deals with a careful production of all frequencies for Basque dance. Energy is there, so is the moon and the ancestors. This album is a good reason to believe in the Basque futurism. Do not deceive, therefore, the ear of the listener. Because the disc has that abrasive road virtue. And the road is made walking, what a devil. Live.
Nick Linbött
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