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Bucharest
May 17, 2022
ARTS & LEISURE

`URMA` in support of the patrimony: `Lost end found` – a parable of lost and found tradition



They performed for Nicusor Dan, the candidate of the ‘alternative’ politics, but refused to perform during the ‘restoration’ (the first suspension of President Basescu), which reminded them of the miners’ terror period of Ion Iliescu. They expressed the contempt for politics and the temptation of emigration in `A Place for Me`, with an explicit video on destroyed TV-sets, in order to end the turmoil of political news, but their verses speak, above all, of a deeper existential adaptation. Mani Gutau, the vocalist, often sings with clenched teeth, with that rictus specific to the rock musician, but his wife, despite its deep tonality, is rather tender. They do no tricks on stage and their alternative rock, now slightly more electric, still keeps the old taste of the unplugged sound that launched them. Saxophone, traverse flute, trumpet add a jazz colour to the usual mix of drums and guitars. They have the stance of a music without frontiers (they programmatically only sing in English), they have a multiple ethnic background (sax player Luis Palomino comes from Cuban capital Havana), their music is multicultural (they were involved in a Romanian-Hungarian musical project) but did not avoid the references to quality folklore (like that of legendary Maria Tanase). Same as the classicists of SoNoRo, the rockers of ‘Urma’ acquired the taste of old buildings, suitable for relaunching multi-cultural sociabilities. Their last album, `Lost End Found`, is doubled by a photo album that sets an architectural correspondent to each of the 11 songs. Buildings of patrimony, threatened by irreversible degradation (like the already demolished Hala Matache), for which they became associated with Pro Patrimonio Foundation and The Romanian Architects Order. They promote the projects through concerts held in old locations, like they did Tuesday at the National Theatre of Cluj, a centennial building dating back from the Austro-Hungarian epoch, but their targets are spread on the map of the entire country: the Constanta Casino, the synagogue of the old Timisoara citadel, the Water Plant of Suceava, the Cantacuzino Palace of Floresti (Prahova), Casa Mincu of Bucharest.

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