Enchanted Moura

In this exclusive Œditorial, we speak to electronic music artist BIIA about her shapeshifting persona, Portuguese culture and new EP Human Skin

Emanating from Iberian mythology, Enchanted Mouras (Moura Encantada) are supernatural beings believed to guard liminal spaces and hidden treasures. Appearing only at dusk or during the summer solstice, folktales often depict them near caves, fountains and wells, adorned in jewels and combing their long hair. Though captivating, a cloud of melancholy hangs over Mouras as they wait to be freed from the spaces and occult spells they are bound to.

Legend has it that a man who stumbles upon one of these ethereally beautiful beings will be tasked with breaking the enchantment. In reward for completing riddles and challenges, the Moura may grant him treasures or even her hand in marriage. If he fails, she will evaporate into a veil of air, leaving him wondering whether she was only a figment of his imagination.

Whether seen as cursed princesses or pagan deities in disguise, Mouras remain timeless symbols of mystery, transformation and the enduring allure of Portugal’s landscape. Their stories — sometimes romantic and at other times tragic — have been passed down through generations, evolving with each retelling. Even today, they continue to shape literature, music and art across Portugal.

Raised in Marco de Canaveses, Portuguese electronic music artist BIIA (real name Beatriz Soares) credits her homeland’s rich storytelling culture for her nostalgic spirit. One treasure she is still fiercely guarding is her new EP, Human Skin, which she plans to launch soon. An ode to her shapeshifting nature, Human Skin traverses the spectrums of trance and techno, as well as her self-described ‘multiple coexisting personas’. Released on 2 May, the first of the four tracks, ‘Angelo’, reflects BIIA’s more dreamy and melancholic essence.

Given the synergy between these two divinely feminine figures, for this Œditorial, we have envisioned BIIA as an Enchanted Moura.

ABOVE
Jacket – Yaspis
Corset – Haderlump
Boots – Sia Arnika
Necklace – RM Atu Gelovani
Tights – Falke

To get started, could you tell us how Beatriz Soares became ‘BIIA’?

I can’t recall the exact moment I knew I wanted to pursue a professional career in electronic music, but it was a desire of mine from around 13 or 14 years old. Every summer, I would visit my cousin, who had a DJ shop in Porto. He sold equipment and ran classes for aspiring DJs and producers. So I guess that’s where it all began.

After I finished college seven years ago, I started DJing professionally. Before that, I was scared to take the risk. It’s not the most stable profession, and at the time, I needed financial security. When I graduated, I started working in marketing, which meant my weekends were free to invest in my DJ career.

My first few jobs were in clubs and bars, where I worked as a barmaid and would play from time to time. When we would wrap up for the night, there was always an after-party where I could listen to electronic music. At the parties, people would ask me, ‘What’s in your water bottle?’ (Soares laughs). But there was nothing in there; I was always sober. I just appreciated the music so much.



Having mastered the fine art of sober raving, what are your thoughts on this trend gaining traction in recent years?

From my experience, I know it’s possible to go raving sober and still have lots of fun. I do understand you can have an elevated experience with the music by taking certain drugs, but there is a time and a place to do it. It shouldn’t become the only reason you’re going out. If you do it every time you go out, and that is every weekend, it can become dangerous and tricky not to fall into addiction. So yeah, I understand if people want to party that way, but people should consider their choices wisely.

LEFT/ABOVE
Jacket – Yaspis
Corset – Haderlump
Boots – Sia Arnika
Necklace – RM Atu Gelovani
Tights – Falke

How did your early immersion in Portugal’s nightlife industry shape your soundscape and taste?

We have a lot of clubs in the region where I grew up, so music was always present on my nights out. There are some very cool underground clubs in Porto, where the style is always classic – more minimal, hypnotic and deep sounds. They try very hard to maintain that ‘original techno’, which was great because I learnt a lot about the genre’s purity.

These clubs have worked very hard to preserve this, and I admire them for that because they stay true to what they believe in. But on the other hand, these clubs rarely develop their sound or cater to different audiences. A lot of clubs are closing as ticket sales are declining. The younger generation goes out more frequently and pays for tickets, so if they don’t appreciate or understand this kind of sound, it puts rave culture, as a whole, at greater risk.

Portugal also has a strong psytrance history and presence. In Idanha-a-Nova in the south, we have Boom Festival, one of the biggest psytrance festivals in the world. All of this exposure has considerably shaped my soundscape, knowledge and taste.



For this Œditorial, we have envisioned you as an ‘Enchanted Moura’. The devout author of Portuguese culture, Consiglieri Pedroso, referred to them as ‘feminine water genies’. How do you resonate with this energy?

As a very nostalgic person, I have always felt entwined with water because my country is. As leaders in the Age of Exploration, and with our Western and Southern coasts surrounded by water, Portugal has lost many people at sea. So, historically, within Portuguese culture, there has always been a symbiotic relationship between the sea and death.

There is a Portuguese word that is impossible to translate: Saudade. The closest would be ‘missing’, but it has much more depth than that. It’s a melancholic longing for someone or something, from the past and even the future. It’s present throughout Portuguese art, literature, music and even monuments. This exposure has shaped me into being a very ‘Saudade-filled’ being. I think it’s so beautiful and perfectly represents my country.

Although the word Saudade doesn’t directly relate to water, in Portuguese art and culture, water is often used as imagery to reflect that feeling. For example, Fado is a Portuguese musical genre with so much depth that you need to decipher it like you’re reading a poem.

ABOVE
Dress – Haderlump
Rings – Mean Goddess
Bangle, necklace & shoes – Talent’s own

Enchanted Mouras are known to guard hidden treasures and shapeshift. One treasure you’re still guarding is your EP, Human Skin, a musical exploration of your own shapeshifting nature. What inspired this latest body of work?

Human Skin reflects my two sides, both musically and personally. Some days I feel dreamy and introspective; other days I’m in a more groovy, provocative mood. The tracks lean further into trance than my previous releases, but it’s still a continuation of my signature sound. You’ll also hear my voice throughout the EP — I never sing — but I use spoken lyrics to weave hidden messages for listeners to decipher. I think it adds an air of mystery…



Out of the four tracks on the EP, which is your favourite and why?

Sound-wise, I would say ‘Gospel’ is my favourite. If I had to characterise my sound in one track, it would be that. It’s fun and a bit trippy. But I think the first track, ‘Angelo’, will probably please more people – it’s more meaningful.



Congratulations on releasing the first track, ‘Angelo’, on 2 May! What makes it ‘more meaningful’?

‘Angelo’ is about appreciating the time spent with people while they are still with us. Because one day, we will search and call for them, but they won’t be there. I watched a video of a tragic love story in Italian, and the lyrics really stuck with me. I knew I wanted to incorporate them in one of my new songs, so that’s where the lyrics – you can hear me reciting – came from.

LEFT/ABOVE
Dress – Haderlump
Rings – Mean Goddess
Bangle & necklace – Talent’s own

Within the electronic music industry, most artists identify primarily as either a DJ or a producer. While unicorns do exist who genuinely balance both roles, they’re rare. Where would you place yourself?

I love DJing, but it disappears eventually. As an artist, it’s your music that you leave behind. It’s a mark of your work — an imprint of yourself that stays forever. That’s one reason why I want to produce more. When I make music, I discover more about myself and what I like — firstly as an artist and secondly as a human. It allows me to stay true to myself.

Unfortunately, that doesn’t always happen, as we’re influenced by the market or labels and end up shaping our work around what sells records… Lately, I haven’t had as much time to dedicate to it as I’d like, but it’s something I hope I can continue doing until the end. I’d also love to collaborate more with other artists, both within and outside the techno scene. I know it sounds like a cliché, but I truly believe the key to maintaining momentum is to keep pushing and never give up.



Which artists are currently pinned to your manifestation board?

In the techno scene, probably Nina Kraviz. I also really like Dax J — maybe for a back-to-back set. And, of course, the pinnacle artist I would love to work with is Jeff Mills! As for non-techno artists, I would love to collaborate with Arca or Sevdaliza. My favourite singer is Lana Del Rey, but I don’t know how realistic that wish is… (Soares laughs.)

ABOVE
Dress – Fetico
Necklace – RM Atu Gelovani
Rings – Mean Goddess

You’ve featured on lineups at Anomalie Art Club, Else and The Berlin Dance Music Event. Playing in the mecca of techno must come with some pressure… How do Berlin crowds compare to those in other cities?

When you play in Berlin, you really feel that it’s the ‘OG place of techno’. Wherever you go, you see people trying to simulate that vibe — whether through how they dance, dress or plan parties. So you would expect Berliners to be a tough crowd, but surprisingly, I’ve found it to be the opposite. Their approach to music is very fluid. They are way more open to hearing new sounds and tend to meet you with a lot of generosity. I love playing in Berlin because I can be more explorative than usual.



Whenever we talk, you are either about to board a flight or at home, preparing to play abroad again. The jam-packed, jet-setting life of a DJ must be exhausting. How do you manage to find time for yourself between sets?

When I’m at home during the week, I try my best to be a ‘normal person’ and lead a ‘normal life’. Whatever that means… (Soares laughs). I have learnt it’s essential to maintain a routine and balance. Otherwise, it can be extremely exhausting. I wake up early, go to the gym, eat healthy, work at home, and try to find time to be outside in the sun, enjoying my new city.

Sometimes people think: ‘Ah, your life is amazing, you travel all the time!’ But in reality, most of the time, I don’t even get time to see the cities I’m visiting. I land, go to the club, play my set and return to the hotel. That’s it. If you don’t make time for normal things or socialising in your free time, it can be a very lonely career…

LEFT/ABOVE
Dress – Fetico
Necklace – RM Atu Gelovani
Rings – Mean Goddess

You mentioned finding time to enjoy your new city… What led you to relocate to Rome?

I moved here about three or four months ago from Barcelona. I wanted to move somewhere else in southern Europe because I love the food and good weather, but it also had to be somewhere convenient for my career. I love Porto, but there aren’t many direct flights, and they’re usually more expensive since it’s tucked away in the corner of Europe.

I’ve experienced Spain and Portugal, and now I want to experience Italy. Rome is my favourite city in the world, along with Paris. I feel incredibly inspired by its beauty. So far, I’m very content with my decision, but I’m still struggling to find time to explore it properly. I’m not playing on Friday, so I’ve promised myself a day off to do just that.



Other than indulging in all that Rome has to offer, is there anything else you’re currently working on?

This year, I want to refocus my energy on my party series, Distonia, which I started three or four years ago. We held two events a few years back before I took a break. The most recent one I organised was in March, and I’m currently working on another for the end of the year. In Portugal, I feel there’s a shortage of techno parties — something I want to give back to my community.

The concept behind the party is to share my vision across every aspect, from lighting and visuals to the selection of artists I most identify with. While music remains the main focus, we also incorporate other artistic presentations. In my eyes, all art forms are interconnected. For the first event, we invited fashion designers to showcase their work and photographers to present an exhibition. We’ve also organised sculpture and painting exhibitions in the past.

Organising a party requires a great deal of time and can be very stressful. I hope this year I can dedicate more time to Distonia, as it’s something I genuinely enjoy. People have a lot of fun there, which is the most important part. So far, I’ve only organised events in Portugal because it’s the market I know best, but I’d love to gradually expand abroad.

BELOW
Dress – Fetico
Necklace – RM Atu Gelovani
Rings – Mean Goddess