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Moon Darling (SEA) is one of those bands that captures you with a single image before you’ve even pressed play. “Pressed” play vs. “clicked” play, for a reason. In the digital age, the Seattle-based foursome’s smoky sound emerges from an era when guitars mattered. When riffs ruled. When guys named Slash wrote “licks.”
Taking it back even further, Moon Darling’s Michael Julian Escobar – don’t let his lack of a one syllable stage name deter you – started on guitar by learning Black Sabbath’s “Paranoid.”
No one wants to belabor the concept that a rock band of dudes with a female drummer is merely “interesting,” because what’s actually interesting here is Nuño’s drumming itself. Her playing is truly accompaniment, in the grandest sense of the word. The songs on “By The Light of The Moon” would simply not be the same without Nuño’s contributions, and knowing that she formed Moon Darling with Escobar lends weight to how important she is to his tunes.
Nuño’s playing punctuates these songs, or more so they “punktuate” (a “punctuate” pun that actually contains the word pun!) them, adding the attitude, no doubt derived from her days of wearing heavy eyeliner in heavier bands, that add urgency to Moon Darling’s more psychedelic leanings.
One of Seattle’s most respected and embedded music journalists, Dave Segal, described Moon Darling for venerable local weekly The Stranger by saying that the band plays “a fluid, controlled strain of psych rock” that “tweaks your nostalgia ganglia for Stone Roses’ more subdued moments.”
All very true, and if any band’s music inspires the invoking of the phrase “nostalgia ganglia” (literally the only piece of music writing on the internet that uses it), then your band is doing something very right.
And seriously, any artist that claims three bands as far flung as Led Zeppelin, Hall & Oates, and Tame Impala as influences, while also being compared by a career music scribe to Stone Roses, simply can’t be about image alone. Except Moon Darling has that nailed, as well.
Salo Panto: Well crafted interlocking guitar lines on a firm bed of low end, crashing drums and a tambourine man on the sampler tying up the loose ends.