“An Exaltation of Larks”
If you follow Albuquerque's music scene, you can't help but notice the omnipresent Mauro Woody. A singular songwriter and vocalist who draws listeners into an inviting aural comfort zone. Hugely talented yet accessible, confident, vulnerable and fragile all the same. In her own modest fashion, Mauro has firmly established herself as a unique and powerful voice on the local scene. Mauro's bewitching delivery, accented with a variety of vocal nuances lends itself well to the swirling textures and precise structures of dream pop. That's not to say that she's not at home outside that genre. “Blue Flowers” for instance, rooted in Appalachian folk tradition is delivered as a comforting lilt, a tonic for anguished souls that descends into a dialogue of ghostly whispers at the end.
A stark contrast to the vocal style Mauro used with her first band, Animals in the Dark. Back then she sang with the stridency of old school punk chanteuses such as Penelope Houston or Poly Styrene mixed with vocal elements reminiscent of Cindy Wilson & Kate Pierson from the B52s. Since then her singing style has evolved. Presently, Mauro favors more refined vocals adorned with scintillating instrumental fills, alternatively switching to something that resembles the deliberately witchy voice affected by Kate Bush on “Wuthering Heights” While Mauro is also fully capable of veering off into Liz Fraser phonetic gymnastics, she rarely takes that plunge.... “Dustlands II” (the bonus live track from the five song ep, “Vulpes Vulpes”) being a pleasurable exception.
As previously mentioned, Mauro started out with Animals in the Dark, self described as “a psychedelic garage rock band with wide influences” which included her brother Brahm Woody on bass, Tianna Yazzi on guitar and drummer John Butler. Animals in the Dark toured extensively, releasing a demo “Winter Demos” an e.p. “Animals in the Dark” an album “Frozen in the Headlights” before breaking up. Mauro segued into dream pop indie rock outfit, The Glass Menageries joined by Gena Lawson, Brahm Woody and Chris Newman. The Glass Menageries have released one album to date “Edge of a Knife” Co-produced by Harry Redus-Brown (Unit 7 Drain) mastered by Carlos Jose Rafael Garcia (Carlos the Tall, YaYa Boom,Youngsville) The band is currently in the midst of an extended hiatus.
Harry Redus-Brown also makes a guest appearance, playing guitar on the seven minute opus “Foxy” a shimmering triumph, that sticks to you like a deep haunting dream. Mauro met Gena at Titwrench while performing with Milch de la Maquina, an experimental female group, one of the side projects she's involved in, which includes Lady Uranium (Mauro's solo outfit) The 5 Star Motelles “an all girl garage doo wop band” Chicharra (three female bass players and a male drummer) A new release from Chicharra is in the works. Lady Uranium, while not as radically experimental as Milch de la Maquina, does diverge from Mauro's previous works. It's a vehicle for experimentation, allowing Mauro to deconstruct the constricting concept of musical genres.
Mauro Woody is also involved in Melanthius, which she describes as “an all wizard band” with her brothers Brahm and Dhaveed w/ Eric Wellman. Psychedelic prog music that brings memories of the mid-1970s rushing back for old guys such as myself. Last but not least, Mauro also teams up with Gena Lawson as Merma & Roberta, a harmonizing duo of Jersey housewives with a taste for Alpaca butter and Designing Women. Fraser McAlpine (writing for BBC America's music blog “Anglophenia”) describes the daunting task faced by writers attempting to interpret Liz Fraser's unique vocal style “Elizabeth's voice is the kind of thing that forces music writers to reach for the thesaurus, eager to find a new word to describe things that spin and wheel around in the air like a flock of starlings” or in the case of Mauro Woody, “an exaltation of larks” Pass me some of that Alpaca butter, I'm done here.
A to Z, women in Albuquerque are doing it. That hasn't always been the case, throughout the 1960s, 70s, 80s and into the mid-1990s women (with a few rare exceptions) were absent from the local scene. We've since witnessed an amazing turn about, women are now firmly planted at the forefront of Albuquerque's local music scene. This has brought about a shift towards more experimentation and genre bending than ever before. Events such as the Denver based Titwrench Festival, the local Gatas y Vatas festival (which expanded to Oakland, Ca. In 2015) ABQ Zine Fest and venues such as The Tannex, are all spearheaded by women bent on building not just a cohesive musical scene but an inclusive and varied artistic community. This installment of Dirt City Chronicles (the podcast) is the first of a triumvirate showcasing women's contributions to 'Burque's local music scene. Three hours that are but a sampler of the astonishing and varied music produced by our better half. Beam me up, there is intelligent life here after all.
White Horse ~ Lindy Vision
Home ~ Red Light Cameras
Blue Flowers ~ Lady Uranium
Blue Winner ~ Star Canyon
Idiot ~ Lindsay Jayne
Nose Ring ~ Weedrat
Foxy ~ The Glass Menageries
Pink and Black ~ Lindy Vision
Past Perfect ~ Bigawatt
Down by the Water ~ Chicharra
Beat on my Bones- YaYa Boom
Bogus Journey ~ Feels Like Sunday
For Shelly ~ Giranimals
Get Your Gun ~ Animals in the Dark
The Ones ~ I is for Ida