Tempo Talks: A Conversation with Idle Moon

THE RELEASE

Idle Moon is a British Columbia-based four-piece instrumental band known for their captivating and well-crafted songs. With a musical style that ranges from hard-hitting to melancholic, their soulful grooves have captured the hearts of listeners. Drawing influence from artists like The Meters, Mulatu Astatke, and Fela Kuti, Idle Moon skillfully combines traditional and contemporary elements to create a sound that is uniquely their own. Their debut record, NOMAD, takes listeners on a triumphant and definitive journey through a captivating soundscape that tells the story of the planet's birth and eventual demise. From the brusque to the winding and gentle, NOMAD reflects the ebb and flow of life, leaving an indelible mark on those who experience it.

Idle Moon's latest release, NOMAD, is a musical triumph that immerses listeners in a captivating narrative of the planet's birth and inevitable extinction. Recorded live to tape at Afterlife Studios by the talented John Raham, who has worked with notable artists like Frazey Ford and Destroyer, NOMAD showcases the band's exceptional talent and their ability to weave together a diverse range of sounds. From the crunchy guitars and distorted keyboards of "The Long Survival" to the melancholic and meandering grooves of "Floating in Plastic," the album beautifully captures the essence of the story it aims to convey. Masterfully mastered by Philip Shaw Bova, renowned for his work with Bahamas and Andy Shauf, NOMAD is a mesmerizing musical journey that invites listeners to explore the depths of human existence and contemplate the direction of our collective future. Available on all major music platforms, NOMAD is a must-listen for those seeking a transcendent instrumental experience.

THE INTERVIEW

If you had to create a Mount Rushmore of inspiration, what four individuals molded the artist you are today?

There’s so many. These probably rotate quite often but today I think it would be the following:
1. Fela Kuti - I remember exactly where I was when I first heard ‘Zombie’ by Fela Kuti and I’ve never looked back. Fela’s music is not only a masterclass of rhythm, but also of melody. The songs just build and build so beautifully.
2. John Scofield - ‘A Go Go’ is a desert island record for me. The man can do it all. There are very few musicians on earth whose tone and style can’t be duplicated and I believe John Scofield is one of them. A true master.
3. J.M Coetze - I love to read and for me nobody tells a story like Coetze. In the end that’s what the goal is and, to me, he is the master. His subject matter is difficult and introspective. I don’t think there’s anyone who’s better conveyed the human condition so clearly in writing. I’ve read all of his books but two of my favourites would be ‘Life and Times of Michael K’ and ‘Waiting for the Barbarians’.
4. The Kids in the Hall - I know this is technically more than one person but I’m gonna cheat on this one. This show was huge for me when I was younger and still cracks me up today. The kids pushed the envelope with comedy better than anyone. They’re the punk rock of comedy and deserve more recognition.

Were there any personal experiences or stories that influenced the creation of the music video, and if so, how did they shape the final product?

Not particularly. We wanted to do something simple with the music videos for the two singles and so we just filmed the live takes in the studio. The music videos are exactly what ended up on the record. We just wanted to give a look in to the creation of the music.

How did you approach the selection and arrangement of the songs on this project to create a cohesive and impactful listening experience for your audience?

That had a lot to do with the musicians. I was very lucky to have some truly incredible players on this record. I started out by writing the basic structures for the tunes and then brought them to the guys to rehearse. The songs just evolved very organically from there and sort of took on a life of their own from there. There were some songs that changed quite drastically and some that stayed fairly close to the original. With these amazing musicians it all felt very easy.

How do you see this EP/album representing your artistic evolution or progression, and what new elements or techniques did you experiment with during its production?

I love instrumental music and wanted to get back to writing more of it. I was very inspired by the work of Mulatu Astatke while writing this record and the production of his albums was very inspiring to me. When we went in to the studio we recorded to a four track and had a rule of no overdubs. We wanted to give ourselves some limitations so that it would sound live and have a more retro feel. We worked with our dear friend and musical wizard John Raham from Afterlife Studios and his contributions to the record can’t be overstated.

Can you share any memorable or profound moments from the recording or writing sessions that had a lasting impact on you personally or creatively?

The most profound thing for me is getting to play music with wonderful friends and musicians. Spending time with good people who strive to make themselves and their music the best it can possibly be. I’m very grateful for the time I spent with everyone on this project. It’s a real gift.

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