Arthur Moon is a beautiful piece of work. The debut album from Brooklyn-based artist/composer Lora-Faye Åshuvud is everything conventionally beautiful music is but at the same time, a complex kaleidoscope of artful musings, ideas, and musical shards that defy the preconceived concepts of beauty. Ashuvud goes by the moniker Arthur Moon, and in the 10 tracks on display, she’s put together a compelling outing that threads the needle between more recognized indie-pop and electronica and atmospherics. The opening “Too High” is a moment of bliss, complimented by Ashuvud’s vocal presence, it’s a track that serves up the moments of indie conventionality that keeps the album grounded. But before long, you’re taken into more avant-pop territory. From the skittering, beat-laden empowering “Homonormo” to the more abstract soundscapes of “Reverse Conversion Therapy“.
You can say Arthur Moon has found influence from an array of artists- undoubtedly you can find traces of Bjork, Thom Yorke, St. Vincent, and (I’m dating myself) Fiona Apple- but her music rests more on the offbeat than the norm. At times her music sound and feel more like art installations than songs; the hauntingly dense and gradual “Myelin” is a perfect example. You can marvel at its beautiful textures- electronic, synthesized- but at the same feel completely at its whim. Her vocals are vital too. Like in “I Feel Better”, where its effect-laden vocal work is the centerpiece of the track, accompanied by the lush atmospherics that rarely travels down one straight path. So much of the musical structures are unexpected- the soft piano outro to a provocative electronic track, orchestral coats applied to tracks- and they make for sometimes challenging outings, but always evocative, always eliciting deeper listens.
In tracks like “Infield” and “Wait a Minute”, Åshuvud experiments with arrangements that mess with your understanding of what a song is- verse, chorus, verse- but made up of fragments from different instruments and sounds that when collated together, form a picture that says a song doesn’t have to sound a certain way to be called a song. The results of Arthur Moon range from the exquisite to the really abstract, twisting and turning your ideas of music with beauty, creativity, and a bravado that challenges music conventions. Some of it is really frenetic, some of it really serene, but it’s never boring.
Crossed Keys – Saviors
Saviors shows the work of well-seasoned musicians finding new energy in old sounds
Philadelphia’s Crossed Keys are an interesting intersection between melodic hardcore and punk, taking an earnest approach to the sound that made its way from the underground in the late 90s and early 2000s. This relatively new outfit is the result of Kid Dynamite and Samiam in a blender- in the best way possible. The Kid Dynamite influence may be a given since Crossed Eyes features KD’s drummer Dave Wagenschutz, but the band’s pedigree also includes members of bands like Zolof the Rock & Roll Destroyer and The Curse, all backing the melancholic vocal work of frontman Joshua Alvarez (Halo of Snakes). So while Crossed Keys are somewhat new, its members have been cutting their teeth within their respective circles for years, and their new EP Saviors shows the work of well-seasoned musicians finding new energy in old sounds.
Saviors is backboned by the furious urgency and energy that Kid Dynamite showed through their history, but while Jason Shevchuk’s vocals were beautifully abrasive, Alvarez takes a more restrained, wistful approach to singing. Songs like the opening “Times of Grace” are musically up-tempo percussions and razor-sharp guitars, but are buoyed by Alvarez’s more melodic vocals. His vocals rest at a good place between Samiam’s Jason Beebout and that NYHC tone exhibited by bands like Token Entry and Grey Area. In songs like “R.J.A” and the closing title track, Crossed Keys find more success with their brand of blistering speed meets harmony- slowing down only for the kind of melancholic punk that made Samiam a noted name. While much of Saviors is built on pace, it wasn’t always this way for the band. In fact, their 2017 EP, I’m Just Happy That You’re Here, leans closer to Samiam than it does to Kid Dynamite (the song “Jeff Pelly vs. The Empire” is particularly fantastic), so there’s been an uptick of urgency with Saviors.
For fans of any of the aforementioned bands here, there is plenty to like with Crossed Keys and plenty to like in Saviors. It’s succinct, to the point, but filled with ample reflection and exploration that gives the EP depth and resonance. Any band that has found influence from Kid Dynamite is most certainly OK by us (this site is named after a KD song after all), but Crossed Keys does more than just tip their cap. This one’s a really good one, and worth your time.
Pine – Pine
Pine’s debut album is a kind of hypnotic melancholia
Where did Ottawa’s Pine come from? It’s a question worth asking after listening to their painfully gorgeous self-titled debut album. Pine use the phrase “doom and gloom never sounded so sweet” to describe their sound, and true to that, this 11-track outing is filled with the kind of hypnotic melancholia that became the playbook for a great many Midwestern emo bands that emerged in the late 90s/early 2000s. The biggest difference here is that while Pine have the heartbreak down pat, their musical sense of loss is lifted slightly by the airy, more wistful sounds of their guitar-strewn songs. Sure, there’s a lot that sounds like a great Mineral record or a Gloria Record album, but there’s also traces of Florida indie/emo band The Rocking Horse Winner and at times, bands like Rainer Maria.
Pine are buoyed by the great vocal work of Darlene Deschamps. Her voice soars through tracks like “Memento” and the terrific “Lusk”. The latter in particular is a great example of how Pine lull you into a sense of calm before it explodes in a collage of symphonic distortion and post-rock twinkling. In “Sunder” they ascend to louder, more expansive sounds. The song is a great combination of thick, fuzzy guitars, mid-tempo percussion work, and that pained vocal delivery that gives the song an extra punch in the guts.
The album took an impressive 2 years to finish, and you can hear the trials and tribulations of that gestation period through the songs. There’s pain, sadness, anger and frustration in songs like the intro “Within You” and the more new emo-esque “Swollen”, but also beauty, and as the album concludes, a sense of incredible catharsis. The record SOUNDS great too, with production values (by a production team that includes Will Yip, who has helmed records by Circa Survive, Braid, Saosin, and the Bouncing Souls to name a few) adding to the grand cinematic finish of the record.
For those who love what emo was in the mid to late 90s will find much to like about Pine just as much as those who like Explosions in the Sky and their post-rock brethren. Pine have been crafting their sound over the last few years and while their previous EP Pillow Talk showed a solid foundation, this new self-titled record is the work of a band close to the height of their abilities. Moving, beautiful, and littered with life’s roller coaster of emotions as songs, Pine is definitely recommended listening.