– By Yufeng K.
Driving to Harbourfront for what proved to be an unsatisfying post-concert meal, my friend kindly pointed out to me that the moon looked amazing. And it did. I pointed out that it was a “supermoon“, when the moon is closest to us on its orbit around the Earth.
This fact was promptly ignored.
She did, however, tell me how as a child, she would always look out the car window and wonder why the moon disappeared as her father took the next turn. Cue a collective sigh of nostalgia. Nostalgia that followed me home.
When John Maus’s album ‘We Must Become the Pitiless Censors of Ourselves’ was released last year, its closer ‘Believer‘ grabbed my attention immediately. A hazy, heady track with a throbbing bass and sugary synths, ‘Believer’ drew me in with its vintage charm and kept me in its arms. I would not listen to anything else.
I’m not sure if it’s the glowing full moon hanging in the sky or if I’m just a sucker for dreamy 80’s synth pop but a year on, ‘Hey Moon’, another track I grew fond of, is all that I can listen to now.
A cover of Molly Nilsson’s track, which is superb in its own right, ‘Hey Moon’ throws in John Maus’ voice alongside hers, adding a touch of romance; a certain tenderness perhaps. The same hazy production that endeared Maus to me envelops a simple keyboard melody and drum-machine beat that loops steadily throughout the track, never hurrying, never pushing.
“Hey moon, it’s just you and me tonight,” sing Maus and Nilsson in a fog of electronic reverb.
A lullaby for the restless me.
The moon begins to wane
“Everyone else is asleep.”