|Half Moon Run / Dark Eyes|
|Artist:||Half Moon Run||Added:||Jul 2013|
|Add Date:||2013-07-21||Pull Date:||2013-09-22|
|Week Ending:||Sep 22||Sep 15||Sep 8||Sep 1||Aug 25||Aug 18||Aug 11||Jul 28|
|1.||Nov 22, 2022:||second meeting (rebroadcast from Sep 12, 2013) |
No More Losing The War
|4.||Aug 30, 2022:||Tunes (rebroadcast from Aug 9, 2013) |
|2.||Sep 15, 2022:||second meeting (rebroadcast from Sep 5, 2013) |
No More Losing The War, Drug You
|5.||Apr 21, 2022:||KZSU Time Traveler (rebroadcast from Jul 30, 2021) |
|3.||Sep 08, 2022:||Doc Com (rebroadcast from Sep 20, 2013) |
|6.||Jul 30, 2021:||KZSU Time Traveler |
“Dark Eyes” Half Moon Run|
This is the debut LP for this trio out of Montreal. Half Moon Run serves up an outstanding set of indie rock with alt-folk or “art folk” sensibilities. Frontman Devon Portielje has an amazingly agile tenor. He uses his instrument to express a range of emotions in the 12-song set. Rich harmonies from bandmates, Conner Molander and Dylan Phillips; accomplished guitar work; sprinklings of piano; infectious rhythms; and the layering of synths provide Dark Eyes its remarkable depth. The CD was originally released in Canada in 2012 — but it is being released in the US on 7/23/13. RIYL Fleet Foxes, Local Natives, Husky, or even mellower Radiohead.
Recommended: 9, 1, 3, 4, 8, 6, 11. Warning: FCCs on Track 2 and Track 12.
1. (3:02) Full Circle — Circular, fingerpicked acoustic guitar. Staccato vocals with lush harmonies, set in time to unexpected rhythms. ****
2. (3:03) Call Me in the Afternoon — Starts playfully with lightly tripping vocals. Additional layers of music heighten the intensity and complexity. FCC: “...shouldn't be this f*cked up.”
3. (3:57) No More Losing the War — Classically played acoustic guitar and softer vocals. Moaning guitars and moody synths add to the dark atmosphere swirling around a relationship with someone named “Karen.” ****
4. (4:11) She Wants to Know — Upbeat tune. Opens with a single piano note and rapid-fire vocals. Increases in urgency with the addition of growling guitars, pounding drums and synths. ***
5. (3:25) Need It — Soulful love song in a 1970s style. Organ underneath. Bluesy guitar riffs. Supported by an languid rhythm using drum brushes with the occasional crack of a block or snap of a snare drum.
6. (3:50) Give Up — Once again, brushes on drums — played rapidly and accompanied by acoustic guitar and Local Natives-like lead vocals. **
7. (3:04) Judgement — Opens with toy piano-like plinking and syncopated rhythm. Crunchy guitar licks. Precise harmonies.
8. (4:07) Unofferable — Sprawling guitar landscapes. Reverbed vocals with soaring harmonies. The steady beat of a bass drum to keep time. Builds with synth orchestration and booming drums. Ends with a distant crying guitar. ***
9. (3:47) Drug You — Edgy, mesmerizing high-energy melody. Tension increased by interplay between repeated guitar phrases and rhythm elements. Vocals are in Portielje’s upper range, then swell into an angelic falsetto. This track sets Half Moon Run apart from other indie-folk bands. *****
10. (3:17) Nerve — Another easy-going track. Lilting melody, which contrasts with the plaintive vocals.
11. (2:54) Fire Escape — Lightly fingerpicked guitar. Beautiful, clear vocals, reinforced by Fleet Foxes-like harmonies. Harmonica in lead break. **
12. (4:52) 21 Gun Salute — Atmospheric closer. Emotive vocals. Stuttering rhythm track provides structure. Synths are layered as the song progresses. FCC: “I keep f-ckin’ it up…”
|2.||Call Me In The Afternoon||8.||Unofferable|
|3.||No More Losing The War||9.||Drug You|
|4.||She Wants To Know||10.||Nerve|
|5.||Need It||11.||Fire Escape|
|6.||Give Up||12.||21 Gun Salute|