MOON LETTERS

Every once in a rare while, a new band you've never heard of confidently grabs your attention and won't let go.

Moon Letters, a humble 5-piece act from Seattle Washington- just independently released their 3rd album. It's interesting how they play with the concept of time in the title: Thank You From the Future because their music easily straddles between the present and the past of prog rock dynasties.

Moon Letters get straight to the point and from the first seconds of the album you are reassured that progressive rock is alive and well, thank you very much. There's no wearing it close to their vests- it's on full display for all to see, and if it doesn't raise any eyebrows, I'd be surprised.

They exploit this genre with great confidence. They keep engaging the listener with their peculiar fresh energy and a seemingly boundless reservoir of creativity and originality. Nothing stale about this collection of 7 songs, despite the fact that there's plenty of winks at the prog traditions that they are undoubtedly steeped in.

Each song is packed with tasty and quirky instrumental sections but there's no conflict with the singing. Three members are credited with vocals, and Michael Trew takes the lead position, also playing the flute. His voice reminded me a bit of Saga's Michael Saddler but I'm not sure who else to compare him to. Like everyone in the band, he's very talented at what he does and fits the whole of the band's sound perfectly. He has a unique and dramatic presence at times. As far as the lyrics, the official bio says 'the album's lyrics explore personal growth, the future of the world, and sci-fi imaginations of the space age.' (Right up my alley..)

If they ever have a hit song, it will be of the Bohemian Rhapsody variety. Moon Letters are relentlessly progressive. At times the music is a bit frenetic, but it's part of their overall charm. They don't sit still or repeat themselves. When I listen to the album I definitely feel like I'm listening to a 'band' - in the proper sense of the word. For example, like the unmistakeable chemistry you feel when listening to a band like The Doors. If there's an epic-ness to this band, it's less connected to the production and more about the enchanting songwriting. There are hints of psychedelic in some parts of songs, but it's not a dominant flavour.

Listening to Thank you From the Future reminded me a little of discovering Yes' Fragile for the first time- it covers many bases of emotions and mysteries and has a unique fingerprint.

There's not much to fault when 50 years after prog was invented, a new band sounds so familiar and yet can challenge and engage you with its' original and cohesive sound.

One of the real joys of being around the scene for so long is that I am still contacted by "new" bands who ask me if I would be interested in hearing some of their music, which is how I am now listening to the latest release by Seattle- based quintet Moon Letters. They were formed in 2016 by Dave Webb (guitar), Michael Trew (vocals, flute), Kelly Mynes (drums), Mike Murphy (bass, vocals) and John Allday (keyboards, vocals). Their debut album, 'Until They Feel the Sun', (which was produced by Barrett Jones, (Foo Fighters)), garnered positive reviews and their performance at Seaprog 2019 helped secure a spot at RoSfest 2020. It took a while for them to return with their second album, but now we have 'Thankyou From The Future', which this time was produced by Robert Cheek (Band of Horses).

It is as if the last 40 years has not happened, as we are firmly in the Seventies with some wonderful Mellotrons in the background, and a very retro feel indeed. They are the type of band where one can easily concentrate on just one aspect and then say that is the most important, as every person involved has such a major impact on the overall sound. I have seen them likened to early Spock's Beard in some reviews, but for me that is more about using some of the same influences musically, yet having the togetherness and drama which makes 'The Light' so compelling. Gentle Giant are a huge influence, particularly with the vocals and the interplay, while Yes have also had their part to play, especially with the keyboards, but the guitar has more of a hard rock presence which takes them in a different direction to both.

It is an exciting and vibrant release, one which does not overstay its welcome with a total playing time of less than 42 minutes (so would happily fit on one side of a TDK-D90, as did all the best albums back in the day), and seven songs with nothing too short or overtly long. This is an immediate and compelling album which only gets better the more time it is played, and one can only hope they get the attention they deserve within the scene as this is a delight from beginning to end.

Moon Letters are the first of my fellow Seattleites to be featured on my blog. I've seen them live a handful times, and they put on a fantastic show. I was introduced to them when they opened for Pinkish Black at the show with the most confusing lineup that I've ever personally been to. (The four bands played retro-progressive rock, Bulgarian folk, punk, and spacy gothic rock.)

This group, like many in the contemporary progressive rock scene, heavily base their sounds on the giants of the genre. Yes and Genesis are their two clearest influences, but the songwriting is original enough for them to rise above the territory of schlocky knock-offs and stand on their own as a distinct band.

Until They Feel the Sun is Moon Letters' full-length debut, having previously cut a four-song demo. It opens with "Skara Brae" and wastes no time establishing this band's modus operandi. This brief instrumental sees guitar and synthesizer harmonizing for a grandiose main theme backed by Mellotron-sounding strings. Countering this relatively aggressive cut are the ensuing folky songs "On the Shoreline" and "What Is Your Country". The former features lovely vocal interplay and idyllic flutework, while the latter is almost fully a cappella.

"Beware the Finman" is one of the heaviest songs on the album, opening with a brief, swirling maelstrom of guitars and drums. The verses, though, have an almost-Marillion-like feel. The guitar and synth tones used here sound very 1980s. This song, like many of the extended tracks on this album, is mostly instrumental, but the soloing feels purposeful, and it's only on rare occasions where I think they could have trimmed it down a little.

"Sea Battle" is another highlight. The marching, martial theme suits it perfectly, pushing the music along and maintaining high levels of tension. Even as the guitar and synthesizer perform twisting, jazzy solos, the rhythm section remains steady and propulsive. Keys are used both to make quieter moments feel more intimate and to augment the drama of more intense passages.

"The Tarnalin" is probably my least-favorite song on the album. It certainly isn't bad by any stretch of the imagination, but it does feel somewhat meandering and even unnecessary. Aside from this track, my overall gripes are quite few and nothing out-of-the-ordinary. There's the odd solo here or there they could have scaled back for the sake of conciseness, but it's rare for me to not have that gripe with a progressive rock album.

The album closes strong. "The Red Knight" is a charging hard-rocker that evokes Kansas's early output. It's quite theatrical with its big riffs and layered vocals, and the soloing which closes the song is top-notch. The closing "Sunset of Man" then opens with gentle electric piano and flute before exploding into a reprise of the main theme from "Skara Brae". This bombast segues to a moment of jazzy soloing, followed by floating space rock, before eventually coming back around to the bombast. This might sound unfocused and scattershot, but everything flows together naturally.

I'd been looking forward to this album ever since I first saw the band at that weird concert, and it doesn't disappoint. Plenty of prog's classic tropes are on proud display here, but the compositions are strong and original enough that it doesn't bog the album down.

Review originally posted here: theeliteextremophile.com/2019/07/07/album-review-moon-letters-until-they-feel-the-sun/

TYFTF is the second studio album by American Progressive rock band Moon Letters. The main characters seem to be Michael Trew on vocals, flute, guitars; Dave Webb on guitars; John Allday on keyboards and synthesizers; Mike Murphy on bass and vocals; and Kelly Mynes on drums and percussion.

Moon Letters have a unique sound, a blend of Rush, Echolyn and Discipline, but with the pop sensibilities on steroids! All the influences are there, the dark ones, the melodic ones, the complex and the less complex? and some virtuosity too. A really solid record that will entertain from the get-go all the way through the last notes, a journey that, without necessarily been conceptual, it does sound like a whole when listened as a whole. I also hear some Hackett-like guitar arrangements and a Bruford jazzy groove, and even some Gentle Giant corky complexity. A mix of space rock and symphonic prog here and there, all very well crafted and executed? not an everyday listen by all means, but a wonderful curiosity for all Prog lovers, specially those who cherish more modern banda such as Magic Pie, The Dear Hunter, Pattern Seeking Animals, and so on. My personal highlights are:

- The Hrossa

- Isolation and Foreboding

- Fate of the Alacorn

- Yesterday is Gone

Lots off artists barking at the MOON these days. I can't keep track of how many MOON bands there are any longer! There's Moon Safari of course in the prog world but so many more like Moon Goons, Moon Duo, Moon Tan, Moon Phantoms and countless others. Here's yet another one of the newer harbingers of modern retro prog, the Seattle based MOON LETTERS. This band doesn't just copy and paste its prog ethos from the past but rather has constructed an interesting new take on taking something old and reinventing it to suit a newer audience in the modern day and age all the while tamping down the tones and timbres to fit into the old school golden age prog world. So far MOON LETTERS founded and led by guitarist Dave Webb released the debut "Until They Feel The Sun" in 2019 and after receiving warranted kudos for an interesting retro-prog stylistic approach, MOON LETTERS continues and ups its game on its second release THANK YOU FROM THE FUTURE.

This is my first exposure to MOON LETTERS but from what i've read there has been a significant improvement from the debut. This album of seven tracks is retro down to the 41-minute playing time and features elements from many classic prog bands. There's an interesting symphonic prog sound reminiscent of Yes at times and Kansas at others. There are also playful early Spock's Beard vocal antics, Gentle Giant time signature gymnastics and occasional King Crimson styled rocking out. However the one artist that comes to mind more often than others is that there is a clear Mars Volta thing going on here. The juxtaposition of musical elements with the punk rocker's intensity in fully fueled prog time signature splendor was the winning formula for albums like "De-Loused in the Comatorium" and "Francis The Mute." Luckily MOON LETTERS succeeds in finding its own voice.

MOON LETTERS was formed six years ago in 2016 and features some prog veterans including guitarist Dave Webb (Spacebag, Wah Wah Exit Wound), lead vocalist and flautist Michael Trew (Autumn Electric), drummer Kelly Mynes (Panther Attack!, Bone Cave Ballet), bassist Mike Murphy (Authentic Luxury) and keyboardist John Allday (Chaos and Cosmos). The debut "Until They Feel The Sun" was warmly received by the prog world and if it's in the same vein as this new release i can tell why! Add to that a really cool album cover and i'm all in. This is what i call fun prog, that is prog that engages in all the check the box elements like time signature frenzies, extended compositional fortitude and improvisation up the ying yang yet without scarifying that playful melodic sing-songy style that made the 70s bands so cool.

If i had to compare MOON LETTERS sounds like what you would get if you mixed The Mars Volta with Spock's Beard and Magic Pie without really sounding like any of the above but a trained ear can surely detect the influences embedded in every cadence. There have been comparisons to Rush and even Dream Theater but MOON LETTERS is a bit more quirky than Rush and not heavy enough to squeak into the world of progressive metal. Nevertheless there are some Dream Theater keyboard dynamics and as far as excellent musicianship is concerned MOON LETTERS does have the chops to sit side by side with some of the aforementioned greats. What's the most cool about THANK YOU FROM THE FUTURE is the unpredictability of the song structures. While they maintain an infectious melodic accessibility, the band breaks into surprising changes in the regularly scheduled program therefore this is amazingly cool at times!

If you love album's like Spock Beard's debut "The Light" then this is right up your alley. The production is professional crafted and the creativity is firing on all pistons. The musicians are quite talented and showcase an amazing adaptability to improvising in unorthodox ways while holding down the main melodic theme. What's also cool is that no instrument or style is dominant. THANK YOU FROM THE FUTURE is truly the musical equivalent of a kaleidoscope in splendiferous coloration. Definitely more retro than modern sounding but the creativity in how the band revisits classic sounds is nothing short of impressive. Looking forward to more from MOON LETTERS.

We've looked at many bands and albums over these few months, so let's keep this trend up. I have looked at more gothic bands, most notably Anglagard and Discipline, with both releasing albums that I think are all-time masterpieces. However, I never found a band that was gothic, but with the tempo of more happy bands, such as Moon Safari or Cheeto's Magazine. A more pastel goth band if you will. That is until now. 2022 has been a great year for progressive rock and it just keeps on coming at you with great releases. I doubt that fact will end any time soon but I do think it is worth talking about this album since it has become a bit of a fan favorite for me.

Moon Letters is a Seattle-based supergroup made up of members from bands such as Wah Wah Exit Wound, Spacebag, Panther Attack!, Bone Cave Ballet, and The Autumn Electric, though I am not sure if those are real bands or just made-up names to spark attention. Besides that, little is known about the group besides the fact that they made an album in 2019, Until They Feel The Sun. This sophomore album, Thank You From The Future, was released this year and has gained some notoriety. I heard about it from the Youtuber Notes Reviews, so I'd like to thank them for introducing me to this album because it is great.

The first song of Sudden Sun sets the scene for this album, featuring fast rhythmic guitars and spacey keyboards. These two factors plus the very articulate drumming do bleed some of that more joyous progressive rock moods into my veins. Honestly, it very much reminds me of Cheeto's Magazine, but a lot more hard-hitting and a bit more retro than contemporary. It is genuinely a mood lifter of a song that helps in its presentation. However, I have a problem with how this song is played out. It is a four-minute song, but it feels like it is multiple songs all at once. Now, this wouldn't be an issue, after all, many Prog epics have this sort of thing, the problem is that it's not a Prog epic, it is a four-minute song. I can never get any time to breathe because things change so rapidly that it feels less like a fun rollercoaster. It is like that one ride at a local fair that is supposed to be fun but instead jerks around causing a headache. A song that is fun but insanely chaotic doesn't help it in the long run.

This also applies to The Hrossa. It is a very fun and jovial song, with a tiny hint of what would become the main staple through this album, and that is the more gothic flair added on. However, it does still have that incredibly jerky progression, where one minute it's one thing, and the other is something else. It does try to be a bit more straightened out with the track being 6 minutes instead of 4, but the feelings are still there. These feel like concepts for something greater as a whole due to how they are presented in these differing lights, which is neat, but I do want something a little juicier without being bombarded with nothing but technical skill. There has to be something more.

And we'll get something more with the rest of the album. The first two songs were the appetizer for the main courses, with the first being Mother River. Gone is the overly fast progression; instead, we get that revitalization of that more gothic sound The Hrossa hinted at. Now, instead of just the happier and go-lucky retro progressive rock bands, we get flavors of Discipline and Anekdoten. This one-two punch of the fun and happy side, with the darkness, gives this album a very interesting and flavorful palette to work with. We can also see some very cool space influences. It feels very Syd Barretesque at times, added with the modern skill presented, with the more straightened-out progression and you'll get one great song. It is just a fun time for me to be perfectly honest.

These aspects continue with Isolation And Foreboding, which is probably the only track that is a little less happy, as seen with the title. The first half feels very mysterious, with the bass being at center stage, chugging the sound along this path. At the halfway point the song shifts gears quickly to something a lot more slower and concrete, with an almost psychedelic rock ballad that honestly moves me. It is so delicate, yet I feel like if I tear it apart it could never break. This song's title does not lie, this song does have elements of isolation and foreboding; the first half being that isolation, that mystery, the intrigue, and resolve; the second half being that foreboding, the calm yet so strong movement that sets with you even after the song ends. This has become one of my favorites of this album, and I think it is hard not to see why.

Let us liven up the mood a bit with Child Of Tomorrow. This time we get a bit more of a European-influenced track, with a clear folk identity, but not scraping away their more rock-influenced sound. It is kinda like how Urskog by Kaipa was: a very European-flavored album that hailed its flag in the retro progressive rock scene. However here we get more of that rock emphasis, which I think suits this style well. It is very atmospheric, with visions of green plains and small villages filled with people. I know this will be an odd comparison, but this feels like a Gryphon track, but if it were designed to be less folksy, and a lot more rocking. It is honestly super fun hearing this more green-flavored style of progressive rock put through a new filter.

This album has the best for last, and that is Fate Of The Alacorn. This is the best conclusion the band can make for this album, really satisfying me with a good mix of that jovial sound, that gothic sound, and even a bit of that more Kaipa-influenced retro progressive rock sound thrown into the spin of things. I especially love the ending, how it builds with these horns that go through the wringer by the guitars and drums, creating this moody and intense melody that bleeds into me. It is a track that values what came before, almost like a generation-long tribute to the first, second, third, etc songs. It is satisfying to hear such a good closure on this album?wait what? There's more? What do you mean there's more? One last song?but this is the?oh wait never mind, I guess there is still one more song left to cover.

The REAL final song for this album is Yesterday Is Gone, and to be honest, it's just fine. The track itself is basically what you might expect from this album, especially with how the album sounds, and it does do a good job of keeping the torch lit for a little while longer, but I do feel as though it is severely misplaced on the album. This does not feel like the last track on this album, it feels more suitable for the middle. With it being at the end I feel like this album, while still good, ends less with a bang and more with a whimper. Fate Of The Alacorn left me satisfied, and to be honest I am not hungry enough for dessert, so this track isn't really necessary, at least not necessary to be the final piece on this album.

I'd say if you want more good modern progressive rock you'll come to the right place with this one. It is a flavorful album that features many songs that while short leave a lasting impression on me. I will listen to some of these songs a lot more throughout the next few months because they are excellent in their stature, but some tracks are a bit lesser than those that I praised. This album isn't perfect, but I do think all and all it is a fun time that harkens back to that more fun side of progressive rock, while also adding a bit more edge to the mixer. It is like a dark chocolate cake, it is darker, but still has an aura of happiness.

This is a truly commendable record by Moon Letters. Musically, it is sound. I'm sure many prog lovers will be happy to hear this, even to own this.

I'm not one of them. I do recognize the interesting song structure, great playing and arrangements. But I do think the lyrics are clunky, the singing isn't that great and the melodies too contrived to pique my interest.

Listening to it feels like duty to me. I wouldn't do it for pleasure.

This album gets two stars from me. I do acknowledge it is well crafted and it will certainly appeal to many here at progarchives. But I'm not oneof them.

"a resoluteness toward life and love..."

Simmering Sophomore Release

Seattle's collective progressive musical force, MOON LETTERS, leaves the impression of five seasoned, skilled musicians giving every last ounce of creative, sacred, majestic, melodic musical enchantment in the sculpting of this their sophomore album, "Thank You From the Future."

Then, drained, drenched, and strangely invigorated, they walk together from the studio, into some spectral future, glancing, spent, into some vast galaxies and into hitherto unseen inner depths.

As corroboration and parameters, I quote the band's statement of intent, of territory to be covered, of terrain explored, "Our satellite-obsessed musicians humbly hope that these invocations reflect a resoluteness toward life and love. With desire to face that which is needed to overwhelm and overflow the fear and hate so prevalent today, we are at your service."

Overwhelm and Overflow

In such a spiritual space- even drawing from one of my favorite writers, C. S. Lewis- this quintet utilizes unexpected melodic twists and turns, guitars that sigh, wail, chime, and rock, bass tones deep and crunchy at times and other times lissome and flowing.

A multitude of keyboards creating atmospheres of symphonic splendor, cinematic drama, psychedelic/space-y textures, mystic string sounds.

The drumming that shows complexity, sensitivity to the overall musical flow, power and passion.

But the Star of the Show...

Well, for me, anyhow- the richly textured, imaginative, evocative, clean and clear, beyond lovely vocal arrangements, providing that final graceful coup de couer that puts this music into another realm entirely. The lead voice is lovely on its own, but this outfit has found a way to magnify and complement and develop the voices into some pretty special.

Overall...

Compositions flow, so often with unexpected twists and turns, always with a melodicism and beauty that sometimes left me breathless. The pace would change from somber, to majestic, to lilting, to pleading. And then back again. Rich. Textured. Emotional.

Closing Thoughts

Superb example of musicality, musicianship, compositional skill, intelligence, taste, and workmanlike commitment on this sophomore release from MOON LETTERS. For me, "Essential: a masterpiece of progressive rock music."

The sophomore release of this band from the USA. As we all know, usually that 2nd release is a bit shaky and undefined, still searching for "their sound." BUT THIS, this new album - "Thank You from the Future" - from Moon Letters is a step up from their magnificent 1st release - "Until They Feel the Sun", which was already mature and glorious.

The writing and playing is tighter, and the production is top notch. I haven't given 5 stars much lately, but this one got it upon my 2nd listening. Such a nice mix of guitars and keyboards. The rhythm section is really tight and imaginative.

I must mention the vocals, as Michael Trew is quite a unique vocalist, and yet very professional. His unique qualities add to the overall perception of the musical concept. As I stated, the rhythm section is great, but there must be a special mention to Mike Murphy's bass playing. The fretted playing tight, what it's supposed to be, but with just enough individuality to be "his sound." Along with his fretted bass playing, his fretless bass playing is sublime. I love it, as it's romantic, but still fits the overall sound of the project.

If you're looking for something new in progressive music, that fits the modern styling, yet has a bit of reflection of the golden era, Moon Letters' "Thank You from the Future" is the answer!

Until They Feel the Sun is an excellent recording. All of the elements of the progressive rock genre are explored in depth and put together to create a singular sound with a tinge of the Celtic sensibility. The songs have an adventurous, stream of consciousness feel to them. The vocals present a heartfelt, clear, distinctive sound. Orchestral elements abound with vintage synths, vocotrons, mellotrons and acoustic flute while the rhythm section puts out excellent grooves and composed lines that have a big sound, sometimes pushing into heavier territory.

What is Your Country, a song reminiscent of the ancient troubadours, creates a far off, dreamy atmosphere using breathy vocal harmonies and ocean-side sound effects. On the Shoreline starts with a common opening chord progression, spinning it out in an unusual, beautiful way. Those Dark Eyes takes a bit of a different approach, with a 7/8 groove that starts small and builds subtly through the first half of the piece. The song then breaks open into theatrical melodic passages and throws in a colorful straight ahead rock groove before it ends. It's All Around You...all it needs is Justin Hayward to transport us back to 1970. The wealth of creativity and variety alone make this recording a worthwhile listen.

The tendency for the bass and guitar lines to double can be troubling. This tendency is a stark contrast to most of the music coming from greats like Yes and Gentle Giant, where these voices mostly play very different parts. It is more reminiscent of the early Rush recordings with vocals and bass doubling the melodic lines, missing out on the opportunity to expand the music contrapuntally, Sometimes the drumming here might present more of a rhythmic contrast as well.

Many of these songs are worth lots of airplay, especially the ones mentioned above. The excellent artistry, musicianship, enthusiasm and joy displayed on Until They Feel the Sun combine to create a wonderful musical experience.