The first track on Lo Moon's self-titled album is ever so gentle in its clarion call. Starting softly with light beats, '80s synths and the controlled vocals of lead singer Matt Lowell, it eventually erupts in a stadium-ready chorus cry of “This is it! This is it now!” For Lowell and his two main bandmates Crisanta Baker (guitar, bass, keys) and Sam Stewart (guitar), Lo Moon is it: the moment they've each individually been working towards their entire musical lives. Music is the universal language for a group of people who all come from vastly different corners of the earth. Lowell is from Long Island, Baker from Denver, Stewart from London; Los Angeles was their eventual meeting place. It was Lowell who instigated Lo Moon before it even had a name. His mantra – if you like – for all the material was their first release “Loveless,” a track he had been working on for five years. After its release, the media were wagging their tongues on this new “mysterious” band who emerged with a My Bloody Valentine-referencing, epic sprawl of a tune. Lowell and co., however, insist that their intention was never to be opaque. They just didn't have anything else to say at the time. “We thought, 'Let's lead with the music and see what happens',” he explains.“It ended up going really far and everyone wanting to know more about the band, but we weren't keeping any information, we were just figuring out what we were gonna do next. We were starting from nothing.” From nothing has come something astounding.  Their self-titled debut album - a dark, luscious collection of songs full of crescendo rock and sparkling electronics - spans the breadth of human highs and lows, mostly inspired by the dissolution of Lowell's relationship in New York and his subsequent move to the west coast.   The record was made in Seattle and Los Angeles and was produced by Chris Walla (former member of Death Cab For Cutie and full-time producer) and Francois Tetaz (known for his work with Gotye).  Matt had met each of them separately a few years before, and felt strongly that they'd both bring something important to the project despite having never met.  He decided to introduce them to one another, eventually encouraging them to co-produce the record.  The result takes the best of both producer’s worlds and melds them into something as dynamic as its creators. Joining the band for parts of the recording process were Adam Granduciel and Charlie Hall of The War On Drugs, along with touring drummer Sterling Laws and The Blue Nile’s P.J. Moore. Kicking off with instant anthem “This Is It,” Lo Moon mirrors the type of seductive electronic energy of bands such as the xx, immediately engulfing you in a cool, thought-provoking, meditative atmosphere. Moving into “Loveless,” the band’s calling card, the album veers towards hopeful, uplifting, and wanting. On the heart-rendering tip, “Thorns” tells a narrative of a love that's gone but not forgotten. It's bittersweet, sad, and nevertheless alive with catharsis. “Real Love” – another highlight – begins with an almost gothic synth line, moving from minimalism into a noirish despair. “When it's real love, you try to fix it but it's never enough,” go the lyrics, drastically and crushingly honestly. It's no surprise that Lo Moon have thus far toured with the likes of London Grammar and Ride. Their music almost bridges a gap between those two generations of soft experimental rock and near atmospheric electronic pop. The record could sit happily among the likes of Talk Talk, Roxy Music, early Coldplay, and the cinematic scope of Sigur Ros. Admitting themselves that they don't keep too abreast of current bands, the trio find their musical Venn diagram tends to crossover in the '80s, '90s and always classics: Depeche Mode, The Cure, Peter Gabriel, and so forth.  They're very unconcerned with chasing the zeitgeist, or trying to stay current, an attitude that takes Lo Moon squarely out of the now and places them in a future perfect place of their brilliantly-devised own making. The band has made itself at home on the road in 2017 - opening for Phoenix, London Grammar, The War On Drugs, Temples, Ride, and more - and the forthcoming year sees them rapidly becoming one of the best new live bands to emerge over the last few years, complementing their interest in their everlasting search to connect with as many new listeners as possible.  “We're just trying to take it day by day,” says Lowell, sensibly. “We want people to believe in what we're doing and where we're going.” Of course, Stewart is there to keep their egos in check. “In terms of our ambitions for this record I was actually thinking more – private jet,” he laughs. If the music stays this good, the sky will be the limit.    

Kraus is the solo project of American experimental musician Will Kraus. He self-released his debut record End Tomorrow in early 2016. Shortly after, it caught the attention of Terrible Records, who re-released it the following September. His rough yet sentimental music typically combines heavily manipulated melodic samples with live instrumentation and vocals. He is releasing his next album Path with Terrible in March. The home recorded album retains the dissonant textures of End Tomorrow, but the melding of such textures with lush guitar chords and more direct vocals produces a heavier emphasis on memorable songwriting. A disparate array of musical influences, ambient drone and 90’s alternative rock among them, produced the album’s borderless sonics, which loom over the primary lyrical themes of dissociation and confusion.