La Fúmiga

Last album


The press says of them:

“La Fúmiga is already a social phenomenon of festive music” (Salvador Enguix, La Vanguardia)

“La Fúmiga’s lyrics are striking for the way they escape from metaphors and put their feet on the ground to get to the most everyday things” (Clàudia Pérez Garriga, Mondosonoro)

“Fotosíntesi by La Fúmiga is an energetic and festive work, as is their trademark, but also with a good dose of reflection and critical awareness” (Èlia Gea, Enderrock)

“The Alzira band have been demonstrating for almost ten years that, from street training and a festive but hard-working approach, it is possible to reach the general public” (Víctor López Heras, Beat Valencia)

Some things fall under their own weight. Like ripe fruit. It’s only a matter of time. If the Valencian territory is the one with the highest number of popular music bands per inhabitant and per square metre, it was a foregone conclusion that their path and that of pop music were doomed to cross. La Fúmiga are the most conclusive proof. And the most successful.

Seasoned in the tradition of bands that sprout from the towns along the coast from Vinaròs to Guardamar, that dot the coast from north to south and also from east to west, and with a noble lineage of charangas, parades, large wind and percussion sections, this group of twelve musicians from Alzira, formed in 2012, has ended up becoming one of the natural replacements, along with Zoo, of those Valencian-speaking groups that provided greater convening power until a few years ago: Orxata Sound System, La Gossa Sorda and Aspencat. They pay tribute to “Camals Mullats” by La Gossa in “Segona conjugació” or wink at “Sin documentos” by Los Rodríguez in “La ferida”. And they do so by improving on what they have inherited and adapting to the new times. With a festive spirit, a social and collective conscience, open-mindedness and songs that seem easy, but are very difficult: the ability to permeate the public at large. To nestle in their memory and make them dance.

Just two albums and a string of singles have been enough for them to occupy this privileged position. They also have a good handful of loyal collaborators. And with a prestigious producer who has got the measure of them, the experienced Mark Dasousa. EPs like Pròxima parada (Halley Records, 2020) and albums like Espremedors (Halley Records, 2019) and Fotosíntesi (Halley Records, 2021), with notable collaborations by Zoo, Suu, Pupil-les, El Diluvi, Jazzwoman, VaDeBo, The Tyets, ESTHER, Samantha and Jonatan Penalba. All of them have songs that sometimes accumulate millions and sometimes hundreds of thousands of listens, such as “Mediterrània”, “Havia de passar” or “Ja no fa mal”. And with all their factors folded into a cocktail shaker in which pop, ska, Balkan rhythms, brass band tradition, folk, Latin and tropical rhythms and even the now electronic pop with some disco influences are stirred. An irresistible formula of proven effectiveness.

A Carles Santos award from the public in 2019 and an Ovidi in 2020 for best mestizo/miscegenation album, together with the public’s endorsement, which has turned them into a popular phenomenon, endorse the career of a group that is a banner of empathy, self-esteem (and esteem for others too) and luminosity, as the title of their exultant and contagious latest album says.

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