Universe

A Rainy Day in May

Joe Moore continues showing off his unprecedented creative activity. The amount and diversity of the albums he has released and produced for Elefant Records since 2011 is unparalleled. Everything started with THE YEARNING’s “Jukebox Romance” (2012), full of delicacy and painstaking artwork in marvelous chamber pop, reminiscent of those girl groups from the 50s. Since then, he has made music with Lia Pamina; he has produced R’n’B and electronic pop for Maddie Mae; and he has written eighties-style Italo Disco and europop with Cristina Quesada. He has also collaborated with Julie Big (ex-singer from LE SUPERHOMARD) on the Julie Et Joe project, with which he paid a well-deserved tribute to 80s French pop (ELLI ET JACNO, LIO, MIKADO…). He explored electronic pop with Holly Vanags under the name THE PERFECT KISS, and, together with Luci Ashbourne, paid tribute to ABBA, to disco music, and 70s pop in general on his last album with THE YEARNING. And after having visited all these different territories, he’s back with a dream-pop, shoegazing, folk-pop album with certain crooner touches, where melodic elegance, the most profound relaxation, and romanticism are all back in full force. This new delicacy, a heartbreaking gem that will fill you with joy, is being released under the name SUNLIT, and it is new proof that there is no musical ground that Joe Moore can’t inhabit, with marvelous creativity and tremendous results.

Joe steps into a new space that he has never entered before, and this time he sings the songs himself. Swimming through seas of dream pop, influenced by groups like COCTEAU TWINS, Julee Cruise, Chris Isaak, THE STONE ROSES, Lee Hazlewood, ALVVAYS, BEACH HOUSE and COWBOYS JUNKIES, Joe Moore gives us something beautiful and captivating that is characterized by the austerity of its arrangements, exactly the opposite of THE YEARNING, and the perfection of the melodies. He takes on all the vocals, and with a few guitars, bass, drums, and the occasional keyboard, he fills songs that take us to a place somewhere between Richard Hawley and MAZZY STAR. A place where sadness is beauty, where tears are sweet, where self-compassion is an exercise in reconstruction.

Our eyes light up and our hearts are warmed with songs like “Someone So Beautiful”, “1985” and “I Won’t Let You Go”. The incredible “Break My Heart” talks about the challenge of always loving someone, no matter what they do, while “Back” (which sounds like something taken off the soundtrack from the cult classic “Twin Peaks”) talks about regret, and the desire to escape to the past. Nocturnal spirits run through “Glorious Isolation”, as Joe himself explains, it’s the moment in “West Side Story” when Tony sees Maria. “Teenager”, which explores the feeling of young love, hits a switch that evokes CIGARETTES AFTER SEX, and here the arrangements shine brightly to show off beauty by contrast, dynamic, surprising us like an unexpected first kiss. And to top things off, it works as a bridge between various exercises in musical exploration, bringing us a more contemporary version of the dry, hyper-melodic Italo Disco of SAVAGE ‘s “Don’t Cry Tonight” and taking it to the province of melancholy, and it works as if it had been written to be played this way. Marvelous.

In the end, we get the feeling that this is a more personal body of work, where all the songs are full of meaning, and all the lyrics are directly influenced by the life of our protagonist, where all emotions are right on the surface. It is absolutely incredible how Joe Moore transits between styles, with prowess, inspiration and absolutely extraordinary execution. Is it because he’s a genius? What really matters is that he keeps releasing albums like this “Sunlit”.

Sunlit

Glorious Isolation

This is a collection of quiter songs that I’ve recorded over 10+ years in sheds and living rooms. The first one, “I love you more” features Steph Brett of Sugar Fed Leopards and Empat Lima fame. Actually, there are a lot of people on here, such as the Japanese band Karikirin on the song “Nurse”.
Lyrically, I am most proud of “There’s no one you can tell about the moon”, which tries to express the impossibility of expressing one’s inner experience of beauty, hurt, gratitude to others.
Really, I’m a ballads-man at heart.

I Wanna Know How Love Ends

"Ya No Existe" es una pieza melódica que refleja la lucha interna de aceptar que lo que extrañamos ya no forma parte de nuestro presente, sumergiéndonos en un viaje de introspección y despedida, explorando las complejidades de la perdida.

La letra es una amalgama de sinceridad y profundidad que expresa la experiencia universal al enfrentar la realidad cuando queramos retener las cosas y simplemente han desaparecido. La canción abraza la melancolía pero al mismo tiempo, es una invitación a la confrontación.

Con una instrumentación sutil promete resonar en el interior de quieres han vivido la complejidad de este tipo de transiciones, esta canción no solo es un testimonio musical de la realidad humana, sino también una reflexión a nuestras propias historias, pasadas, presentes o futuras.

Ya No Existe

say yes to heaven by lana del rey
ultraviolence version
unreleased

say yes to heaven ♡ ultraviolence ver.

Marigolds

I thought spring was coming early

Присядь у костра и спой
эту песню в последний
раз на всех платформах

bnd.lc/vmesteacoustic

I Wanna Know How Love Ends

Peter Joseph Head

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