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.
The Ritualists – Painted People
The Ritualists play some determined, strong-willed music
After listening to Painted People by The Ritualists, I was very surprised to learn that this is their debut album. This band shows a maturity in their music that I would not expect from a first album and provides inspirational sounding tracks with ‘reach for the stars’ type of guitar riffs. I hear a modern version of U2 in The Ritualists, along with an influence of Radiohead. Their songs are full, wholehearted post-punk hooks with a lead singer that has a sizeable range.
“Rattles” opens the album, and it’s the type of song that shows their audience that they are here to stay. It has a great build-up of excitement and intensity. The band explains that this song is “A combination of dark, deep-pocketed verses juxtaposed with big, flashy choruses is a key element to tracks”.
“Ice Flower” and “Worthiest One” welcomes an electronic wave to the album and showcases just how impressive lead singer Christian Dryden’s range is. His ability to hit those high notes with such conviction puts my falsetto abilities to shame. “Worthiest One” brings this sort of nostalgic feeling- it’s a rock ballad with a floaty guitar riff.
“She’s The Sun” is a great follow-on from “Worthiest One” as it transfers the mood upwards and directs the music into more of a hypnotic vision, which conveys “the band’s inner Sixties Love Child”. “I’m With The Painted People” has a really relatable background to the song. Dryden felt a larger than life inspiration from people like David Bowie and Simon Le Bon, these artists felt like soulmates, which can be lonely at times. It wasn’t until he ventured out into the clubs of the lower east side of New York which helped him feel comfortable to express his creative vision freely. The song is all about finding like-minded people.
There are hooks galore and catchy choruses in pretty much every song. “With this record, I’ve specifically tried to be anthemic,” admits Dryden. “I’ve always loved going to shows, where immediately after the performance, and even on the ensuing days after, you just can’t help but remember and sing the songs you’ve just heard. It’s almost like a higher form of communication.” The Ritualists play some determined, strong-willed music and Painted People shows hints of variations with different genres explored throughout. They sound motivated and in return have produced motivating music for their listeners.
The Decline – Flash Gordon Ramsay Street
What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk
It’s possible that since punk broke through to the mainstream in the mid to late ’90s, listeners outside of Australia think Frenzal Rhomb are the only band to have come from the lucky country. It’s true that during the rise of that Epitaph and Fat Wreck sound, Frenzal Rhomb became the namesake of the genre from Australia. However, Australian punks know that their history stretches long before the release of Survival of the Fattest. From the legendary sounds of The Saints to the rock n’ roll infused punk of Radio Birdman, Australia’s punk rock history is not only rich but very much precedes the genre’s mainstream explosion.
Frenzal Rhomb were another chapter in punk down under and for many, they opened a lot of doors. If not at the very least, proved that there were fertile grounds for new bands to emerge across the vast land. Western Australia’s The Decline formed in 2005 and quickly showed their talent for writing up-tempo melodicore that shred as much as it soared. From their 2010 debut, I’m Not Gonna Lie To You, it was clear that the band were equal parts snotty, urgent, funny, and melodic. Like the Frenzal Rhomb formula, they’ve got all of it in spades with a mean streak of Australianness that is both endearing and extremely relatable. Their latest album is no different.
From the title alone you can tell you’re in for a shedload of fun, and while it’s easy to think that Flash Gordon Ramsay Street is just goofy humor, it’s actually got a lot of pointed commentary too. From the animal-supportin’, veggie-lovin’, attack on meatlovers and meatheads (“Brovine”), to the real-estate market questioning “Smashed Avo”, there’s plenty of current talking points that The Decline run through. Sure, you also get vegan buffalo wing recipes (surprisingly, not the song titled “Bullet With Buffalo Wings”) and a love for The Legend of Zelda, but who says you can’t sing about Marxist theories while talking about your love for Nintendo?
What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk; taking plenty of cues from the best of the NOFX / No Fun At All up-tempo, hardcore-derived brand of punk. The hooks on Flash Gordon Ramsey Street are as infectious as horny teens on spring break, highlighted by the endless harmonies on songs like the terrific “It Was Always You” and the call and response male-female vocal attack of “Verge Collection”. Brevity is also key, as the majority of the songs here never overstay their welcome with the longest clocking in at just 3:15 (the wistful closing of “Josh”).
Flash Gordon Ramsey Street is concise, to-the-point, and a furious medley of skate punk urgency that is relevant to young adult life as punks in Australia. Great production values to boot mean you can’t go wrong here.