As if to prove this versatility, Moog have recruited seven renowned artists for a brand new EP, each heading off in a different direction. From the chiptune-centric work of Bonobo, to the lush pop of Peter CottonTale and Jamila Woods, the songs were all crafted entirely with the equipment provided in the new packages, and highlight the versatility of the Moog set-up. Dan Deacon‘s ‘Green Heart’ races into life like a 16-bit game set on fast forward, Madame Ghandi’s ‘Bending Time’ offers a moody, attitude-filled beat, and both Martial Canterel and Ela Minus take on retro synth pop, though from opposing ends of the spectrum.

All of the tracks stand in contrast to Julianna Barwick‘s ‘Open Master’, a song that swaps out the harsh edge and frantic beats to exploit a different side to the Moog Sound Studio entirely. Drifting into life from a clouded swirl, the song balances ambiguity and focus to great effect, its ethereal tone fogged and strange yet shot through with light. Barwick’s vocals serve as another layer of this gauze, conjuring an ever shifting collage marked with a devotional edge.

Explorations in Analog Synthesis is out now and available to stream on the Moog Soundcloud page.

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The EP is seven tracks of haunting, ambient folk music, backed with Gale’s excellent vocals. Some of the tracks are sterling examples of conventional lo-fi folk, all fragile vocals and lovelorn lyrics (see ‘Blood’). Others (such as ‘Longing’) are something a little different, the vocals joining a hazy swirl of ambience, producing something more akin to Julianna Barwick than Laura Marling.

Gale signs off the album description by saying, “Nothing big or fancy….just plain and simple….Maybe a bit too simple, but i hope you like them for now”. She is either being unnecessarily modest, or is capable of something pretty extraordinary if this is “too simple”. You can download the album right now on a pay-what-you-want basis over at Bandcamp

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Labeling Conversations as “dream pop” would be to do it a disservice. This isn’t some formulaic collection of by-the-numbers, post-chillwave, bedroom recorded, melancholic pop music, but rather an assortment of influences and ideas, a willingness to experiment with sounds and structure. For example, the album’s shortest song (excluding a forty second instrumental piece), ‘All In The Name Of Good Dancing’, clocks in at under two minutes, whereas ‘Dream Talk’, the album’s sprawling midsection, breaks the ten minute barrier.

The album opens with ‘Drift Down’, which you can see in video form below. The song is perfectly titled, feeling like the soundtrack to a slow and gentle descent. Next up is ‘Familiar Ground’ which starts slow and considered and builds into a climax that shimmers and swirls like something by Beach House.

‘The Bear’ is a Gothic folk fairytale, reserved and slightly creepy, like Timber Timbre whispering as they fall asleep. It tells the tale of a journey into the woods and an encounter with a grizzly bear.

“Trapped we are inside this place, 
trapped we will dig our own graves

But the bear will keep us safe,
if we only do one thing for him.”

Perhaps one for your alternative Halloween mixtape?

The aforementioned ‘Dream Talk’ descends into a lovely throbbing murmur, with barely audible vocals that echo and fade, not entirely unlike Julianna Barwick. ‘Ill’ is devastatingly sad and pretty, opening with the line, “try to pretend you’re not dying”, it captures the same mournful air of The Antlers’ brilliant album, Hospice. Next, ‘All In The Name of Dancing’ changes the tone, a Memoryhouse style pop song. The album closer (this time excluding an instrumental/ambient bonus track) ‘Chairs’ is all dreamy and pretty for a while and then begins a slightly surreal acceleration and ends in some kind of muted frenzy.

Check out the video for ‘Drift Down’ below:

You can get Conversations on a pay-what-you-want basis via the band’s Bandcamp page. It’s not often you find ‘free’ music with as much heart and attention to detail as this, so please dig deep and give the band a little something, they deserve it.

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What’s more, she has enlisted the help of a rather spectacular group of friends to feature and aid her in recording. Aaron Dessner (The National), Matt Barrick (The Walkmen), Zach Condon (Beirut), Jenn Wasner (Wye Oak), Thomas Bartlett (Doveman) and Julianna Barwick will all contribute. I would be keen to hear any release of hers but this dream-team, consisting of several of the most experience and accomplished figures in contemporary indie rock, should make this new record unmissable.

Tracklisting:

1. Warsaw
2. Give Out
3. Serpents
4. Kevin’s
5. Leonard
6. In Line
7. All I Can
8. We Are Fine
9. Magic Chords
10. Ask
11. I’m Wrong
12. Joke or a Lie

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