On Moon 2 Ava Luna's de facto band leader Carlos Hernandez steps back, leaving space for the rest of the band members to step up and step into roles they hadn't occupied on previous albums. Felicia Douglass (now a touring member of Dirty Projectors) worked with percussion and sampler, Julian Fader experimented with synths, nearly every band member ran the computer during recording sessions, and Becca Kauffman (aka performance artist Jennifer Vanilla) composed her first song for the group "On Its Side the Fallen Fire," a deeply layered orchestral piece of Kate Bush grandeur meets Julia Holter reverie. Compared with previous Ava Luna albums, Moon 2 has fewer sharp turns into dissonance, fewer celebratory guitar parts, none of Hernandez's signature screams. Nevertheless, the infectious buoyancy of "Deli Run" and "Walking With an Enemy," are warm and bright, and songs like "Centerline" and "Phoebe (Set it Off)" venture confidently into pop territory. The title track, painting the elation and tumult of a crush, is set against a swaggering reggae bassline and warbling Kraftwerk synths. "It's like, every sci-fi movie has a nightclub," says Kauffman. "These are the songs in that nightclub."
Brooklyn-based indie art fun band, Ava Luna, began in frontman Carlos Hernadez's high school bedroom. While the band has transformed both sonically, and physically over the years, they've nailed down their fundamental elements in their latest album, Infinite House (2015), by solidifying their lineup, and traditionally structuring their art funk R&B-infused sound. This track is a cover of Desmond Decker's "Isrealites", and is the second release in the JNR 2016 Flexi Series.
While on a writing retreat in the sleepy southern town of Benton, Mississippi, the members of New York's Ava Luna came across an abandoned house while on a walk through the woods. Overgrown, rotting, and littered with evidence of its past inhabitants, the maze-like dwelling would haunt their psyches throughout the writing and recording of their third full-length Infinite House. Like Borges' "Library of Babel", the seemingly endless rooms and hallways in the old house felt like a metaphor for the invisible, internal labyrinths, which the band explores lyrically and sonically on their new album.
Recorded by drummer Julian Fader and vocalist/guitar player Carlos Hernandez, and mixed by Dave Fridmann (Flaming Lips, Spoon, MGMT), it is safely their most polished recording to date. But their trademark intensity, mirthful humor, and angularity remain resolutely in place, the burnished surfaces illuminating the stories beneath like never before. By questioning, or maybe just forgetting the rules of the real world, on Infinite House the band has grown beyond the "nervous soul" descriptor they've been tagged with in the past, delivering an album on which nightmarish moments can phoenix into revelations that help us reconnect with the surreal magic in our everyday lives.
After years of writing and performing, Ava Luna has refined their doo-wop soul meets punk-as-fuck aesthetic into something bold and glaringly defiant in today's indie music landscape. Following the release of their critically lauded first proper full-length Ice Level, the band spent an intense 2-week period writing and recording in upstate New York. Unlike previous efforts that were meticulously mapped out, the songs that would become Electric Balloon were "... a family effort." according to frontman Carlos Hernandez. For the new album, former Columbia composition student Hernandez relinquished the reins a bit, opting for a more organic approach to writing the material for what would become Electric Balloon.
In the wake of Ice Level, Ava Luna's sharp edges have melted away just enough, making it easier to connect with their no-wave grooves and soaring harmonies. Distilling everything from James Chance and ESG to contemporaries like Dirty Projectors and Of Montreal, Ava Luna have landed on an aggressively unique sound that still manages to be accessible.