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.