I deliberately aimed to break from the electropop style of my previous album "Don't, Don't" (monarcadia.bandcamp.com/album/dont-dont
) and alienate my audience from the first track. I wanted to make it clear that I'm not a pop musician, and intentionally allowed the recordings to remain unpolished; I'm interested in creating honest music that I find interesting and different from anything else I've ever heard.
Lunar Affair emerged from a series of post-midnight recordings I had made between Las Vegas and St. Louis--I lived in both places in 2013. I would stay up all night recording, usually until/past sunrise. I have always felt some kind of deep connection with night and especially the moon. Something about night simultaneously energizes and relaxes me; I feel centered and lucid in the late night and do most of my creative work when most people are asleep. In St. Louis in the latter half of 2013, it started to feel like some kind of secret, like an affair I was having with the moon. I keep my work confidential until I'm ready to release it; accordingly, no one really knew what I was up to, and I prefer it that way until I feel that I have material I believe is worth sharing.
While I do not want to expose every detail of what each song is "about" (some of this has to be open for you to discover your own meaning), here are a few notes:
"I'll Show You Where It Lurks" is a tone poem that, through the sonic conjuring of a fantastical visual atmosphere, beckons the listener into whatever monstrous region of the brain hosts depression.
"Moondance Make Up!" has a title inspired by Sailor Moon's transformation exclamation (I'm an superfan). I actually would go out and dance in the street in St. Louis really late at night when no one was awake or around. In Chinese and Japanese folklore, the "red string of fate" would connect two destined lovers. Something to consider.
"Crepúsculo" is Spanish for "twilight" (not THAT Twilight, Stephanie Meyer fans) and I feel is both hopeful and melancholic, like the time just before sunrise when the night must regretfully end. I think of it as both an ode to that time and an effort to represent that moment and its attendant emotions musically.
"The Phone" was made with the iKaossilator app and my guitar and voice. Sucks when someone you love doesn't call you back.
"You're My Nightmare," lyrically, concerns the same person and love that my whole Don't, Don't album was about and for. I see it as the darker side of Don't, Don't. If there's any narrative going through my work at all, you should find some of the more torturous moments within this song, though they may not sound that way at first. This seems to me to be the emotional center of Lunar Affair. It's meant to be an acousmatic recording but I would love to play the whole thing live one day.
"Difficult Confessor 1+2": sometimes it's easier to say what's on your mind through music alone. There isn't an exact "confession" per se; sometimes vocalization is ineffectual and also just irrelevant. I can also be pretty quiet in person and I consider myself private about a lot, unless we're close of course. I improvised the whole recording while trying to keep those things in mind, literally trying to speak off-the-cuff through the music. Before releasing this I cut the recording in half because the sections seemed distinct enough for that to make sense.
"Lightbringer" is for someone I met in St. Louis who became extremely important to me and a kind of spiritual guide. I learned a great deal from this person and she helped me discover my inner peace, among many other life lessons that completely changed me for the better. She was a sun person, and I a moony. Nevertheless, I did actually start calling her "Lightbringer" toward the end of my time in STL. I'll never forget you, T.
Eternal gratitude and love to you.
"G0dfxck SL0p 4 BrechhFa$$" is the first of what will hopefully be a future series of tracks that combine my poetry with music in such a way that the two complement each other. I wrote the poem, wrote the music to highlight the poem's tone and represent some of the thematic content, and then read the poem over the music. Certain performative elements like screaming, I feel, give the poem new life that would be impossible as mere text on a page. I guess you could think of this as a kind of performance poem.