Hailing from Portugal, Albaluna are a sextet of talented musicians whose ethnic background is heavily-rooted within the region from which many of their musical influences emanate. Their vast degree of influence is derived from many ethnic sources such as Balkanese, North European, African and the Middle East but the predominating factor must surely be a strong blend of Iberian and tribal African rhythms.
The band consists of Ruben Monteiro (Afghani rubab, Turkish bağlama, Arab oud, hurdy-gurdy and vocals), Christian Marr (bass and vocals), Raquel Monteiro (violin, vielle, dilruba and vocals), Dinis Coelho (darbuka, riq, tombak, tablas, davul, bendir and daf, Carla Costa (Turkish ney, low whistle, bagpipes and dance) and Tiago Santos on drums.
Featuring a mesmerising array of instruments, the band exhibit some extraordinary dexterity, especially on the hurdy-gurdy, bouzouki, vielle (medieval fiddle), bagpipes and tin whistle, in a way that leaves you in awe of the talent on board. Although not strictly a progressive rock band per se, Albaluna will certainly appeal to those whose appreciation extends towards the ethnic and world fusion ends of the musical spectrum. This does not detract at all from their unique and compelling sound but it is certainly enhanced by the inclusion of acoustic drums and electric bass guitar which help to underpin the rhythms and dynamism of their songs.
As is often the case, too many exceptionally gifted bands fall under the radar to the detriment of the music-buying public who never get to hear such talent. The band's latest album, Heptad, was completed in early 2021, yet it is only now that some momentum is being generated to spread the word. This is the band's sixth release since 2010 and I must confess to not having heard of the band or any of their previous releases until now.
The first song admittedly left me a little underwhelmed as it included many sections of spoken words rather than any true singing, but thankfully that issue quickly dissipated when the second track got underway. It is when the band fully utilise all the instruments at their disposal, that the full impact of their musical creations, really take on some significance. The swirling rhythms that form the backbone of the band's music is brought into the 21st century, as the ethnic components rub shoulders with some of the more recently created instruments to really propel the songs forward. This gives the music a very lively and holistic sound which enables the listener to enjoy more than just a smattering of ethically inspired motifs that don't go anywhere.
As it stands, the band have overcome that by utilising very emotive lyrics and singing, that while not being in a language I understand, does not create an impediment to the music's enjoyment. The remaining tracks thankfully exhibit sufficient energy and vitality to ensure the listener is kept fully engaged. I understand the band's live concerts are quite popular in parts of Europe, so would appeal to those who enjoy seeing what their ears are also experiencing.
The band credit their success to being able to meld their historical and cultural influences, and to blend these with the music of tomorrow. They have successfully played in many European countries together with Morocco, India and China. I could easily imagine the band headlining the roster at music events such as the Womadelaide Music festival held in South Australia in 2022, were they to undertake the journey down under. From: https://www.dprp.net/reviews/2021/163
