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LP
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GN 054LP
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"Moon Diagrams' (Deerhunter's Moses Archuleta) new mini-LP, feat. radiant reworks from Shigeto, Angel Deradoorian, and Jefre Cantu-Ledesma. Trappy Bats was largely recorded in a single night as a means to process the intense intersection of Archuleta's social, political, and personal hysteria. Having been arrested for an unknown, missed court date, Archuleta spent 24 hours in a holding cell, opening ample time to reflect on his life, the current state of the nation (the jail televisions were showing a constant feed of the then-active Unite the Right rally in Charlottesville), and the other inmates stuck inside the containment center. Upon being released the next day, Archuleta found himself in a bout of insomnia and feeling the need to process everything through music. Here, Archuleta is in his freest state, channeling the turmoil and confusion he was experiencing into an unencumbered fit of creativity. It's pure, unadulterated escapism with an even more callous palette of sounds than before. 'Trappy Bats' could be the sonic spawn of Not Waving and Terrence Dixon, with a slow and snarling mix of percussive clatter and washes of orchestral tones that unravel along its 12-minute runtime. Shigeto implodes the track into a kaleidoscope of viscerally giddy dance music. 'Wipeout' is a slow-motion waltz of dusty piano and clattering percussion loops that cooly stumble along with the woozy, nocturnal flare of the Caretaker or Philip Jeck. The haunted reverie ventures even deeper with an electrified ambient re-imagination by Jefre Cantu-Ledesma. 'Daisychain' goes almost completely off the grid, offering up a sweetly submerged slab of constantly evolving murkiness in the vain of Demdike Stare or a dosed Andy Stott. The sweet shuffle levitates into the air with a celestial re-interpretation by sonic visionary Angel Deradoorian. The end result is an extended traipse of Saturday evening fever-dream techno, Sunday morning cigarette jazz-pop, and every blank-thought in between."
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7"
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SCR 126EP
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Deerhunter co-founder and drummer Moses John Archuleta released his debut album Lifetime Of Love as Moon Diagrams in 2017, after being pieced together over a ten-year period. The two remixers here hail from the same Glasgow underground dance scene. Happy Meals take the album's surprisingly upbeat closer "End Of Heartache" and turns it into an infectious piece of '80s electro brilliance, while Komodo Kolektif recast the album's epic centerpiece "The Ghost And The Host" as a spaced-out gamelan jam, complete with samples of philosopher Alan Watts. Pink vinyl.
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2LP
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GN 041LP
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"Lifetime Of Love is the debut album by Moon Diagrams, the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Recorded in Georgia (Atlanta and Athens) and Manhattan (East Village) over a 10-year period, Lifetime Of Love finds Archuleta processing various stages of love, loss, and regeneration via forlorn pop, minimal techno, and weightless experimentation. Throughout each of the 8 songs, Archuleta follows fits of inspiration or moments of chance. By lifting samples from thrift store-sourced LPs, removed from their sleeves and chosen at random to find loops and textures, Archuleta lets the unknown happen naturally, but still confined to a specific set of boundaries. 'Bodymaker' and 'Nightmoves' feature Archuleta's earliest solo recordings, captured between the release of Deerhunter's 2007 breakout LP Cryptograms and 2008 LP Microcastle. The two songs also show Archuleta's willingness to venture outside of the taut, mesmerizing drone rock of his main band. The chilling, ambient techno of 'Nightmoves' perfectly foils and compliments the broodingly sullen but sincerely beautiful shuffle into the dark. In 2012, Archuleta decided to pick up his recording activity, challenging himself to make a solo album. Locking himself in his practice space and using only the spare instruments laying around, Archuleta would enter fugue states in recordings. This period yielded a disparate mix of sonic sketches, from eerily bucolic choir recordings ('Playground'), dusty art-pop ('Moon Diagrams'), and infectiously jubilant dance pop ('End of Heartache'). For the final period, Archuleta found inspiration after an extended stint in Berlin, estranged from his friends and family. But Archuleta used the relative isolation to take in the city's dark energy, eventually returning home to finish the album with a newfound sense of resolve. Subtly grandiose and quietly epic, the album explores a nascent beginning, a morose middle, and a bittersweet, optimistic end."
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