LAOR - ÊMOONÀ

​LAOR

​ÊMOONÀ
self-released; 2026

By Dan Weston

On ÊMOONÀ, LAOR treats singing as a communal practice, using the voice to carry prayer, gratitude, and a desire for connection. The 11-track album moves between private reflection and collective expression, supported by classical guitar, hand percussion, horns, and vocal arrangements that often suggest ceremonial participation. Released seven years after her 2019 debut, Agradeço, it combines original compositions with interpretations of traditional medicine songs, drawing from Indigenous traditions, Mediterranean culture, Brazilian music, and LAOR’s Jewish heritage.

The title combines emunah, the Hebrew word for faith, with the moon as a symbol of guidance. It is an appropriate name for an album devoted to finding direction through music during periods of uncertainty. LAOR’s approach is openly spiritual, and the record rarely separates performance from intention. These songs are presented as prayers, affirmations, and expressions of appreciation.

“Great Eagle,” featuring Abuela Maria Valdivia Wakantitlan, begins with acoustic guitar and singing arranged in a reverent, ceremonial manner. There is a seriousness to the performance that establishes the album’s devotional character. “Minha Estrela Guia” introduces greater vocal variation, moving between a lead singer and what sounds like a group. The classical guitar is excellent here, and I also liked the addition of the horns, which broaden the arrangement without overwhelming its intimate center.

“I AM” enters warmer new age territory, with lush instrumentation and affirmational lyrics. It is among the album’s most relaxing selections. “Cainã” is more dynamic while retaining the mystical tone found throughout the record. The title track, featuring Sagiv Cohen, brings in another strong vocalist and grows increasingly sentimental toward its conclusion. In spirit, it reminded me of “We Are the World,” particularly in its emphasis on unity and collective hope.

“Indio Mensageiro” provides a welcome shift in energy. Its playful rhythms and festive character interrupt the album’s sustained seriousness, and it became my personal favorite. “Ay Aguita” contains more impressive guitar work, while “Breath” returns to the record’s meditative side.

“Niftach” stands out for its rhythms and detailed instrumental textures. “HoduLeyah” centers on appreciation and gratitude, two themes that run through much of ÊMOONÀ. The brief closing track, “Eu Peço A Meu Pai,” reduces the music to a quieter passage of voice and accompaniment, ending the album in contemplation.

Much of ÊMOONÀ belongs to the broad new age tradition, though Brazilian, Latin, Mediterranean, and other global influences continually reshape its character. I was especially drawn to the songs with overt Brazilian rhythms. The classical guitar playing is consistently strong, and the occasional use of group vocals gives the album a welcome sense of scale. There is plenty to appreciate here. Take a listen.

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