Tarta Relena sings from the perspective that what we call folklore is a living and moving repertoire. Therefore, this reality is mouldable and can  be reinterpreted with the instruments and sonorities that we now have within our reach. A key tool is the electronics with which they re-signify the  melodies without leaving aside their origins. The study and knowledge of the path and the contexts that have given rise to these musics opens  the doors of experimentation towards new meanings. In Tarta Relena’s work there is also a desire to play at blurring the concept of authorship,  bringing together anonymous traditional melodies and newly created songs under the same umbrella, treating them in the same way and placing  oral transmission, the central element of tradition, at the centre. 

One of the strong points of the project is the complexity in simplicity and the maximum expression with the minimum of elements. The repertoire  work brings together the resources of different vocal techniques (flamenco, lyrical, traditional, jazz…), allowing a vast exploration of the  possibilities of the voice. 

In January 2019 Tarta Relena released her first album entitled Ora Pro Nobis (The Indian Runners, 2019), winner of the Enderrock Critics’ Prize  for the best folk album of 2019, which consists of eight a cappella songs with a subtle presence of electronics. In April 2020, during their  confinement, they released their second work, Intercede Pro Nobis (The Indian Runners, 2020), recognised by Rockdelux as the best national EP  of 2020, which emphasises the importance of the dialogue between voice and electronics. 

Fiat Lux is the first full-length album and is an exploration of the concept of cyclicality through memory, nostalgia and the evocation of feelings.  The love poems written by Sappho of Lesbos or traditional Sephardic songs deal with the same emotional problems we face as individuals in  2021. Whether in archaic Greece, in medieval times or in the midst of a global pandemic, the self goes through the same processes of joy and  pain, closes them and begins again, unable to avoid the course of things. Each poetic « I » illuminates itself in the midst of all the others to say  what it has to say.  

Through the stories of powerful and time-transcendent characters, such as the Vingen Mary, Hildegard of Bingen or the Paixtu tribe of women in  Afghanistan, the timelessness and transcendence of these voices and their discourses are explored, revisited and sung from today’s perspective.