It sounds like you’ve interrupted Niagara mid-show. “Estação e Torres,” the first track from the Lisbon trio’s wonky new album Catedral Gótica, opens in medias res, right in the middle of a techno pulse and a herky-jerky piano loop. It’s the kind of destabilizing-exciting feeling usually only elicited by high-class roller coasters, or days where you have one too many Monster energy drinks. Niagara — Sara Eckerson with brothers Alberto and António Arruda — supposedly record their music live, so when the track’s piano begins to fade, supplanted by a tinny, skew-whiff synth arpeggio, it really does feel like you’ve walked in on the tail end of an ensemble performance far longer than the track’s eight minutes.
…Niagara, stalwarts of the Príncipe label, have…

You need to be logged in to view the rest of the content. Please .