In Conversation With #106 - Red Moon
Alt-pop singer-songwriter Red Moon takes us on a enchanting journey and continues to redefine the word mystical with her debut EP ‘Phase I:XI’. Coming from a sleepy town Nittedal in Norway, she took a moment to talk to us about how this setting reflects on her music and how the EP came together.
Hey there Red Moon, so the debut EP is out now - how does it feel to be releasing your debut EP in such a strange time for music?
I am just so happy to be releasing my music. Some of the songs on my EP have been waiting to get out for quite some time and in a way, the release of a song is such a success of its own. Because there is such a long journey and processes to why and not every song will end up being released. And even in the midst of all this chaos, the release of these six chosen songs feel like they were supposed to get out exactly at this time.
It is titled ‘Phase I:XI’ - does this have a certain meaning for you?
Like a moon cycle...I believe there are various cycles, seasons and lessons within us that we are going through. I:XI stands for the magical number 1:11. Over the last few years, I’ve ruminated on the meaning behind numbers, dreams, symbols, different stages of life and different types of connections with people. And how it all comes down to human connection and empathy, and why that is the most valuable thing we have.
With Phase I:XI, I wish to explore and continue the search and curiosity for further chapters.
Where was the EP recorded?
All six songs are written and produced with different people but they were made in Berlin and Bergen. Here's an overview.
A few years ago DWY and I wrote Dreamer in Berlin, that was later produced by Tim Tautorat at Hansa Studios. Tim also produced the other song on my EP called Dogma which I also wrote a couple of years ago with Michelle Leonard.
Beginning of last year I started working with some lovely people from Bergen. Such as Slow Down came about with Askjell, or Orchids with Odd Martin, and the trio collaboration between Odd Martin and Askjell on Dissolve. And Medusa with Magnus Skylstad.
What are the key themes and influences on the EP?
Phase I:XI represents both birth and an ending in many ways, with each track navigating these different phases. Exploring questions to the world and oneself through ‘Dogma’ and ‘Medusa’, a journey through despair and hope with ‘Dreamer’ and ‘Orchids’, existing in the present with ‘Slow Down’ and the acknowledgement of letting go of something and someone dear before it’s gone in ‘Dissolve’.
You grew up in a small town in Norway, how did you access new music? Was it a struggle?
Well, I grew up both in Norway and in Switzerland, more specifically in Basel and Nittedal.
Yeah, I guess it must have been a bit more difficult to access music until the internet was there for everyone. Before I was probably more influenced by what my parents were listening to and maybe what was on MTV. I remember how buying my first CD was quite a big thing at age 11, which was The Diary Of Alicia Keyes. At that time I had already moved back to Switzerland and started growing more interest to sing. I can’t say I listened a lot to the radio, but rather found artists on youtube back when I was around 14. That’s where I discovered Sia, Imogen Heap, Gotye, Radiohead, and more. I believe the older I got the more my curiosity grew around art, music and lyrics.
You take a lot of inspiration from artists such as Imogen Heap and Sia, what drew you towards them? And how have they influenced your musical style?
It’s interesting that I discovered both of them fairly at the same time, in my early teens. Both of them have a very different approach and style in singing and I think I learned a lot what I like and how to use my voice in different ways. I really fell involve with Sia’s early album: Some People Have Real Problems. There was a nostalgic and jazzy tone about it, and her way of singing was unpolished and apologetic. I love to feel the soul and emotion in a voice, regardless of how loud or quiet one is.
I quickly got obsessed with Imogen Heap when I heard Hide and Seek and Speeding Cars under the other project called Frou Frou. She created these stunning soundscapes with her voice as an instrument. I started understanding the love for harmonies.
These two strong female artists feel like beautiful antipodes in tone and lyricism. I think Sia is such a raw storyteller and Imogen Heap makes you want to dive deeper into her puzzled multilayered universe.
On a trip to London earlier this year, you ended up being invited into a session with Guy Sigsworth - a close confidant of Heap’s. How did that partnership come about and how was the whole experience for you?
The link happened through Fran and Rachel at my label Decca. Both of them know I’m a big fan of his sound and his album STET. I was really excited when I heard Guy also liked my music and was up for a session. The whole writing process felt natural and playful. He made it feel so easy to just enjoy that day, as he is a super chill and sweet person.
Do you have a favorite lyric on the EP? If so, which one and why?
Dogma absolutely has one of my favourite lines. The whole song and every sentence have several stories and questions. Dogma is the question to your self and to the world of what truly matters.
I’m the molecule and I’m the wave
I’m the atom and I am the shade
With all my flaws and all my strength
I am the secret and the seventh sense
Giving all I have until you finally see
that all we are is all we’ll ever be
If we beat the Dogma
and crucify all the lies
If we Beat the dogma
Who could we be
who would we be
I’m the feather that the owl has lost,
I’m the magnet of my own trust,
got my weapons locked up in a box
melting ice when light has struck
reborn in mothers love
Giving all I have until you finally see
that all we are is all we’ll ever be
If we beat the Dogma
and crucify all the lies
If we Beat the dogma
Who could we be
who would we be
‘cause stars had to die,
for you and I
to be alive’
If we Beat the dogma
Who could we be
who would we be