Mario composed Moira's album while living in a building his community reclaimed from a vulture fund.
1. Neko et Eurythmia episode 96 is an interview with Mario, leader of the Valencia-based punk-underground solo project Møira.
2. Host Almudena Andrés conducts the interview; Mario is identified as the former bassist of Basfalda, a band he played with since high school.
3. The episode's core question is how Møira came to exist and what distinguishes independent, unconstrained music-making from group work.
4. Mario explains that Møira arose from a housing occupation: neighbors collectively recovered a Valencia apartment building from a vulture fund that had launched mass eviction proceedings.
5. All eight songs on the debut EP were composed during that occupation, with Mario describing the environment as generating 'very strong emotions coexisting with each other' that made composition inevitable.
6. The album's conclusion coincided with the residents being expelled from the building — a timing Mario calls 'very poetic' and which he refuses to call a coincidence.
7. Working with childhood friend Ángel Vela as producer and guitarist, Mario recorded the EP in Vela's home studio with no time limits and a philosophy of following first instincts: 'that breath that is cut and you say, ah, that's it.'
8. The band name Møira comes from Greek mythology — the Moirai are the three Fates who control destiny — chosen to blend punk and urban aesthetics with mythological imagery.
9. Mario contrasts Møira with Basfalda: in the new project he answers to no one, publishes when he wants, and feels no commercial pressure, describing it as 'free will.'
10. The debut EP contains eight songs, all recorded organically with musicians from the Basfalda circle (including drummer Antoni and sound engineer Oberto) but with no formal outside collaborations.
11. The album artwork was created by photographer Guillem Garay, shot in an abandoned Civil War-era military deployment site near Valencia.
12. Mario says the EP is exactly as he and Vela intended — no songs he would change — attributing this to treating the project as 'a creative process to enjoy' rather than a battle.
13. On live performance, Mario says Møira would be 'fast, intense and dark' and that the dream venue is CSEO Lorta, the Valencia social center whose collective gave Møira its first informal gig.
14. He credits a collective member named Omar and the CSEO Lorta assembly as the people who pushed the project from idea to reality.
15. Mario plans to release the EP on vinyl, with a fanzine insert as a nod to punk tradition, describing vinyl as 'something perennial' that will not be replaced by digital formats.
16. He intends to distribute the vinyl primarily to collaborators and community spaces like CSEO Lorta rather than through commercial channels.
17. On AI in music, Mario says he has 'gone through the whole spectrum': he now accepts AI as a tool for technical decisions (e.g., replicating a specific amp sound) but insists that 'the machine has no intentionality' and that audiences prefer witnessing human creative limits.
18. He also criticizes the pressure on independent musicians to handle every role themselves — community management, press releases, sound engineering — calling it a 'clumsy moment' in music history.
19. The episode suits listeners interested in independent Spanish punk, DIY recording philosophy, housing activism, and debates about AI's role in creative work.
20. Listeners seeking polished production discussion, commercial music strategy, or English-language content will likely find limited relevance.
