There are only so many words, and as a result, only so many band names that can be claimed before they start to overlap. For example, here’s six bands that have “moon” in their name, and considering these all were chosen simply because I’ve heard their name recently or saw it on a show calendar, there are probably many more (such as Moonwalks featured in our latest Playing Detroit column). Here’s a quick guide to what they sound like, where they’re from, and how you tell them apart.
Moonchild
The Los Angeles based group Moonchild plays jazzy pop that includes tenor saxophone and clarinet (played by vocalist Amber Navran). They have all the timing and timbre of a standard jazz or lounge band, but with echo-y layers of vocals and brass played with a soulful swagger.
Summer Moon
Summer Moon could be placed into the category of “super group;” its members include Nikolai Fraiture (The Strokes), Erika Spring (Au Revoir Simone), and Tennessee Thomas (Like) as well as Lewis Lazar. So obviously, they sound pretty good.
https://youtu.be/AsOIlRMGzy0
Moon Honey
Moon Honey is from Los Angeles, but via Louisiana. They play intricate, surreal pop with theatrical vocals supplied by Jessica Ramsey. The trills in her voice are reminiscent of an old Disney movie soundtrack, while her melodies recall the Dirty Projectors minus the harmonies.
https://soundcloud.com/moonhoneyband/boy-magic-1
What Moon Things
What Moon Things is a New York band that’s part punk, part moody dream pop. Check out “Squirrel Girl,” a track from their self-titled LP that sounds like the perfect soundtrack for wandering through a dark, abandoned warehouse. The trio is also playing several CMJ shows at venues like Aviv, Pianos, and Bowery Electric.
The Soft Moon
The Soft Moon is a San Francisco band with a heavy, industrial sound, best described as steady and sludgy (and as their recent video for “Dummy” proves, occasionally creepy).
https://soundcloud.com/goincase/when-its-over
Moon Duo
Moon Duo is a San Francisco project made up of Erik Johnson (Wooden Shijps) and Sanae Yamada. Their sound is a combination of electronic and Krautrock elements, with droning, understated vocals, and lots of keys and psychedelic guitar solos.
There are few things better than pop music that uses a bright, upbeat exterior to hide a deeper, darker message, and that’s exactly what the Riverside, CA based sisters Summer Twins have created with Limbo. Consider the album name, for starters. As well as being a fun party game, limbo also has the creepy definition of “an abode of souls that are, according to Roman Catholic theology, barred from heaven.” When used more casually, it can also mean being stuck between two places, which makes sense since the band’s sound is stuck between a blend of decades-old doo-wop and soul, more modern psychedelic rock and current pop.
Their songs are full of fuzzy, well-crafted guitar hooks, electric organ, and the back-and-forth vocals of sisters Chelsea and Justine Brown. Each one is a variation on an old-school genre: There’s “Our World,” which has a “slow dancing at a 1950’s prom” kind of vibe, the Bo Diddley-esque guitar rhythms of “Fire,” and the soulful guitar lines on “JuJu.”
While songs like “Florence” and “Dreamin” seem to be straightforwardly nostalgic and inspirational, Limbo gets off to a less cheerful start with “Blinds.” The verses of the song are sparse, aggressively punctuated by staccato guitar as they sing about an anxiety that drives them indoors: “I run into things that I don’t want to see and my feet keep on tripping/I hear whispering, they keep calling my name, but I don’t want to hear anything.” “Demons” may seem like an inspirational song about achieving happiness by overcoming your fears, but in its delivery, the message comes across more like a warning: “When the demons creep on up, you have got to shut them up/They will eat you up inside, you won’t make it out alive.” And, the upbeat, pop-rock song “Love Within” advises listeners to keep their true feelings hidden to the point of not letting the object of their affection reach them easily by phone, see them cry, and even not eat when they’re starving.
But don’t be scared that Limbo will leave you down. Despite throwing in some dark lyrics, the Summer Twins haven’t created a depressing album, they’ve just put a quirky, refreshing spin on topics related to life and love. And also, Ouija boards.
Limbo will be available via Burger Records on October 2nd. You can stream the album here. For instance gratification, check out some of their earlier work below.
Once during a sticky New York City summer weekend amongst a web of personal chaos, I called up a friend and sometimes lover from my couch and said: “Let’s go on an adventure.” An hour later we had taken his friend’s car and were driving lesisurely to Coney Island. The best word for a lover and friend I’ve come up with is “sex friend” – straight to the point – but “Homeshake” is far more fun.
Homeshake is the solo project of Montreal-based musician Peter Sagar (formerly guitarist for Mac Demarco). He left life on the road to create a calmer exhistence and get in touch with his own groove. This track, off his sophomore effort Mid-night Snack due out September 18th via Sinderlyn, feels like the calm undercurrent below anxieties, and reminds me of my own day at Coney Island: footage cutting from stoned serene stares to nearly puking your brains out. A dreamy effort reflective of Sagar’s switch from guitars to synthesizers, the duality of the song’s nature (it would be great for both solo meditation music and creating partner orgasms) is reflective of a project that demonstrates the beauty that occurs when you throw away what you should do and follow your instincts. Watch “Give it to me” below.
From Austin Texas duo Coeds, Meredith Munoz and Ryan Kailath, comes a new track titled “Sensitive Boys.” Infectious indie rock pop, the beat bounces like a determined kick ball straight out of an 80s high school – propelled by classic synths. Drums drive and Munoz’s confident voice captures. Cue the opening credits to Coeds’ rise to stardom.
“Sensitive Boys” is the A-side and title track off the bands’ upcoming 7,” slated for release via Old Flame Records on May 19. Take a listen below.
With a name inspired by a Kafka story, it makes sense The Harrow would be well-spoken. Yet even with the bar set high the mysterious Brooklyn coldwave/post-punk band impressed with their bewitchingly intelligent interview. The Harrow is Vanessa Irena (vocals, synth, programming), Frank Deserto (bass, synth, machines), Barrett Hiatt (synth, programming) and Greg Fasolino (guitar). They are currently working on an upcoming LP that we’re already gnawing to hear. I spoke with our Artist of the Month about gothic art, nerdy influences, and selectivity of gigs.
AudioFemme: How did you guys meet and form a band?
Barrett: We all seemed to have traveled in the same circles for some years, and it seemed like it was only a matter of time for this band to come to fruition. Frank and I became close friends during our previous band, and we had shared stages with Greg’s previous band as well. Vanessa and Frank met through their respective DJ gigs, and the timing just felt right. Frank had some demos kicking around, I jumped in and we started fleshing things out. We then invited Greg to add his signature sound, and Vanessa was the perfect last piece to the puzzle.
AF: Who do you look up to as musical inspirations?
Frank: As far as sound is concerned, bands like Cindytalk, And Also the Trees, Breathless, Cranes, For Against, and of course, The Cure and Cocteau Twins are hugely inspirational, as well as most of the players in the French coldwave and early 4AD movement. Belgian new beat and ’90s electronica have been influences that I’m not quite sure have fully manifested yet, but are definitely something I’d love to explore further in the coming years.
Greg: For me, the 4AD sonic universe is definitely a place we all intersect and Cocteau Twins are the ultimate touchstone. As a musician, I am particularly influenced by classic ’80s post-punk bands like The Chameleons, Comsat Angels, Banshees, Bunnymen, Sad Lovers & Giants, and The Sound, as well as ’90s genres like shoegaze (Slowdive, Pale Saints, MBV), trip-hop (Massive Attack, Portishead), and alt-rock (Smashing Pumpkins, Suede, Radiohead, Jeff Buckley). Lately I am very inspired by a lot of modern neo-shoegaze bands, who seem to be carrying the torch for dreamy, effects-heavy music now that much of the post-punk revival has dissipated, as well as more atmospheric metal stuff like Agalloch and Deftones/Crosses and creative, hard-to-categorize bands like HTRK and Braids.
B: I’m not sure if I can get through an interview without mentioning Trent Reznor, but he has always inspired me, through his recording methods as well as his choice of collaboration, and just his general attitude towards music. Of course: David Bowie, Chris Corner, Depeche Mode, Massive Attack, The Cure. I do have a tendency to lean on bands from the ’80s.
Vanessa: I’m a huge fan of Karin Dreijer Andersson (Fever Ray, The Knife) and Elizabeth Bernholz (Gazelle Twin). These days I’m mostly listening to techno and textural stuff (Ancient Methods, Klara Lewis, Vatican Shadow, Function, Profligate, OAKE, Adam X, Mondkopf, etc.).
AF: What about other artists: poets, painters, writers – who else has influenced your sound?
F: Literary influences are as important to me as musical influences. There’s the obvious surrealist and nightmarish nods to Kafka, but other authors such as Isak Dinesen, Robert Aickman, Albert Camus, Charles Baudelaire, and William Blake have inspired the lyrics I’ve written for the band, some more directly than others. As for art, the same applies; Francis Bacon seems almost too obvious to mention, but his work is incredibly moving. Francisco De Goya as well. I’m also drawn heavily to bleak, medieval religious art, usually depicting the crueler aspects of Christianity. Perhaps a bit cliché as far as gothic influences are concerned, but lots of imagery to draw upon.
B: David Lynch, John Carpenter, Jim Jarmusch, Anton Corbijn, just to name a few. These guys paint wonderful pictures through film, and I always find it very inspiring.
V: Frank and I have pretty similar tastes in art, so I definitely agree with him on the above, but I think it’s worth mentioning that we’re also all a bunch of huge fucking nerds. I’m not ashamed to admit that lyrical inspiration for me can come just as easily from The Wheel of Time or an episode of Star Trek: TNG as it does from Artaud.
AF: What do you credit to be your muse?
F: My bandmates.
G: Posterity.
V: My shitty life/Being a woman.
B: Dreaming.
AF: Blogs love labels, but how would you describe your music?
F: I don’t ever attest to reinventing the wheel. We all draw from different influences and I mostly consider our sound to be a blend of shoegaze/dream pop, 4AD, and early ’80s post-punk vibes. We generally err on the dreamier side but have no qualms with getting aggressive if the mood calls for it. At this point in the game, creating a new sound is out of the question, but our varied tastes and interests have led to some cross-pollination of genres that hopefully proves to be interesting amidst dozens of modern bands operating in a similar medium.
B: I’m still trying to get a little saxophone in there.
AF: Will you speak to the darker element of your style?
F: Operating in this medium is less of a conscious choice for me than it is a catharsis. Therapy in a sense – a method of expressing otherwise unpleasant thoughts and feelings to make something creative, rather than letting my shadow side consume me.
B: Darkness is way more interesting. And real.
AF: If you could collaborate with any artist, who would it be?
F: At this point, the idea of collaborating with someone famous is an overwhelming thought. Sorry for the cop out, but I can say that we’re looking forward to some collaborations from some of our peers, both original and in remix form. More on this as it develops!
B: Sorry Frank, but I’m going with Pee-Wee Herman.
AF: Will you tell me about your current LP you’re working on?
F: We spent the majority of 2014 hunkering down and working on the record. We recorded Silhouettes in piecemeal form over the course of the year, layering synths and guitars and drums as they fell into place. The record is currently in the can and is being mixed as we speak by the uber-talented Xavier Paradis, and will hopefully see release this fall via aufnahme + wiedergabe.
AF: How does it differentiate from previous work?
F: The new record is incredibly diverse – there are ambient segues, the occasional industrial/hip-hop hybrids, and plenty of other eclectic sounds to go around. There are more complex rhythms that are the result of Vanessa and Barrett’s superior drum programming talents, for starters. We also took turns writing lyrics this time around, with Barrett, Vanessa, and I all contributing. It’s truly The Harrow as it’s meant to be – a band hitting their stride as a full working unit with equal love and collaboration driving us.
AF: Can we expect any live shows for you in the future?
B: While we enjoy playing live from time to time, it isn’t the primary focus of the band. We are at points in our lives where making the music is more important and rewarding in and of itself than performing it on stage. Our goal with the band leans much more toward the creative side. When we do play though, we want to make sure it is an event, and something to look forward to, not just the typical four random bands on a Tuesday night thing.
Looking to get lost in a world of sound? Carmen Villain, aka Norwegian singer/songwriter and former model Carmen Hillestad, has released a new 7” single of dreamy pop music, Quietly/Let Go.
“Quietly” is an eerily ethereal soundscape of guitars and brooding background noise.While the music builds around her voice, Villain’s vocals remain tethered down, dark and dreamy.“Let Go” is a quieter track that feels as if you’ve gotten lost in a forest; it starts with chattering bird-like noises and swirls of synths and reverb. Villain’s muffled voice is only present for the last minute of the song, before the track fades quietly out.
Quietly/Let Go is available to download digitally on January 20th. For those of you who prefer a copy you can show off on your bookcase, you’ll have to wait until February 10th when the physical copy is released through Smalltown Supersound.
“It feels as though we found each other, when we reflect back on the myriad of minutia decisions that were made to cross paths at that exact point in time,” says Phaedra Greene of the fateful day when she and sister Elsa met producer/songwriter Ryan Graveface. The story goes that Ryan stumbled upon the sisters singing and playing autoharp under a tree in a park in Savannah, GA, and the trio have been collaborating as The Casket Girls for the two or so years since. Phaedra continues, “it begs the question, was it the first time we met?”
This mystic sensibility is what the group have become known for, to an extent, and it colors the sound of their upcoming sophomore album, True Love Kills the Fairy Tale, out Feb. 11th via Graveface Records. The ten-track record comes with its own bizarre backstory: allegedly, all of the lyrics were written in one night while the sisters were in some sort of semi-conscious dream state (“Elsa was sobbing and reciting poetry while Phaedra was just staring straight ahead and writing it all down, like catatonic,” according to Ryan) and they have no recollection of it at all. But despite these questionable origins, the final product is a rather focused and lush sounding album.
True Love Kills The Fairy Tale begins with a winking electronic beat and the sisters’ haunting, harmonious “oooh”s. As the album progresses, the production becomes ever more dense. “Day to Day,” for example, has a distinct shoegaze-y wall of sound quality to it and a slow tempo that lulls you into a haze. The title track features a lot of fuzz and some interesting instrumental work—acoustic guitar? banjo?—near its end, which is refreshing to hear midway through the electronically inclined album. “Holding You Back,” on the other hand, has a quintessentially pop sound to it, with ‘80s influences to boot. The lyrics, meanwhile, explore the tension and balance found in dichotomies (as in “Chemical Dizzy,” in which the girls sing “Opposites only exist with each other”) as well as more metaphysical themes (like the concept of “unrequited reality” from the first track, “Same Side”).
Though the album is pretty purely pop, it remains instrumentally grounded in Graveface’s mechanical blips. A straight-shot listen might make some of the tracks come off as repetitive, but The Casket Girls have a pretty specific sound which they do very well. Droning and entrancing, True Love Kills the Fairy Tale leaves you blissed out and bobbing your head along to the catchy riffs.
Montreal trio, Diamond Bones crafts an infectious brand of dream pop infused with ethereal synths, and electro-shoegaze. Although the band has only been together for a little over a year now, Diamond Bones has landed a number of pretty impressive gigs–a spot on this year’s POP Montreal Festival (known for showcasing a number of both high-profile pop-rock North American and European artists, as well as up-and-coming local acts across Canada), slots opening for artists like UK-favorite Chad Valley, Detroit’s indie-pop darlings Dale Earnhardt Jr. Jr., and the “chillwave” duo Keep Shelly in Athens. The band has traversed all across Canada and the East Coast (you might remember them from the AudioFemme Showcase as part of CMJ 2013 back in October) and shows no intention of slowing down.
Relentless touring and a stacked itinerary hasn’t stopped the band’s creative flow. Diamond Bones has been hard at work piecing together material for their debut full-length to be expected some time early next year, and released a video for the single “Home Is Where” just a few months back. “Home Is Where” is a carefully cultivated work of art. Its numerous layers and textures takes listeners into a sonically resplendent state of ambiance (think of the merging of shoegaze heroes like Slowdive and dream pop artists like Washed Out), a tone that works hand-in-hand perfectly with the alluring, theatrical extravagance of the video for the single.
The band will be making a number of stops along the East Coast for a brief December tour. Be sure to check out Diamond Bones performing alongside NYC’s Relations and We Can’t Enjoy Ourselves THIS Thursday, December 5th at Bar Matchless in Greenpoint ! Check out “Home Is Where” here on Audiofemme :
Ticket Giveaways
Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.
