The first time I heard a song Moonshake finished stunned, distressed and sticky with sweat, as if I were stuck in a jam in the middle of city, stuck in a car without windows in August and the sounds of every little thing to see increased its decibel yell in your face. A monstrous fable in which the buildings, the faint rumbling of the ground to the underground passage, rushed automatism of everyday life, the click-clack of intermittent the imperceptible hum of a light bulb ... all cause you extreme psychosis that would eventually terrify revealing.
Moonshake's music did not always have this feature, it is rather a quality that was acquiring a base of small mutations, but in their last two albums voice David Callahan (vocals, guitar, samplers) and could be considered better emissary of uneasiness and despair so characteristic of the twentieth century, and his music reflects the confusing maelstrom of big cities topped by manic loops that seem almost randomly colliding, as the same chaos that surrounds us in the daily life-and variety of styles ranging from free-jazz to blues to rock post-punk avant-garde (in fact its name comes from a song by Can). That will deepen the strokes disturbing was the result of the loss of motor half of the group in their original, Margaret Fiedler (vocals, guitar, samplers)-that increasingly disagreed more with David and eventually forming his own band, Laika - with what the personality of Callahan took up more space in the direction of Moonshake. A highly recommended album to illustrate all this is explained The Sound Your Eyes Can Follow (1994), a fascinating listen.
work that stands out today is the first stage collaborative between Callahan and Fiedler, the ep with which debuted in spring 1991 under the label Creation Records, training completed by then John Frenette (low, then Laika also) and Mig Moreland (drums). First Ep is an exercise that is in its catalog as his most accessible and enjoyable atmosphere, not defiant to the end of their experiments later but still early regenerative contribution to what would later be called post -rock.
In 'Coming' (curiously, the only one who sings Callahan) will be seen dancing in Manchester groups of the first ninety (percussion, bass line in a closed circle) but the atmosphere, accentuated by the slide guitar, is dark. Fiedler took the microphone in the other: 'Gravity' delves into a dream world (vocals dripping chloroform, choppy guitars) kinship with them My Bloody Valentine's Loveless , although it should be noted that this record was published later that 1991. Of 'Coward' are two mixtures, the second one hidden at the end: the final version is furious and loud, driven by a frenetic drums; the underground voids distortion and acoustic guitar brings to the front to accentuate the shape of cryptic folk song. 'Hanging' is perhaps the highlight of the ep, with Margaret's soft voice soaring over a misty bucolic grounds while reciting it from "You left me hanging yesterday / today I cut the cord" .
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