"Very reminiscent of both Massive Attack and Air. The production is top notch. The thick pads give a really nice, relaxed, almost meditative quality to the album, and this is only enhanced by the vocals." Future Music (UK)
"Ethereal trip-hop strip teases, retro coffee bar jazzy flows, enigmatic dub drifts and crafted classical sighs make ideal ear candy for a late night romantic rendez-vous, stylish dinner parties or lazy Sunday lunches. An unchallenging listen, but then hey, duvet day soundtracks seldom sound more stylish." Miles Keylock in GQ.
Locking myself up in my home studio on a South African farm for a year, I wrote and recorded Unlike Me in an attempt to bring together my passion for guitar music with my fascination with modern electronic sound production. The result is a carefully polished and meticulously produced album of intimate songs – featuring guitars, vocal harmonies, ethereal strings and electronic beeps and bleeps.
WITH GREG GORDON
"Forest Moon's debut album is the musical equivalent of a hammock, strung between two of the trees in the forest that surrounds the duo's small high-tech studio in Franschhoek where this chilled, nu-folk collection was recorded. 'Forest Moon' is an unassuming and gentle slice of melodic acoustic tunes with scattered rock and world influences, all embellished with soft vocals and harmonies and lush but not overdone string and vocal harmony arrangements." S. Segerman, SA Rock Digest.
In the early seventies, reggae artists starting putting out instrumental and heavily processed song versions on the B sides of their singles. Extensive use of reverb and delay with an emphasis on a melodic bassline created a laid-back, ambient form of reggae. This became known as dub. Confessions in Dub is a collection of very laid-back, electronic dub drops.
My first instruments were the old organs my musical dad played in the family home, which allowed me to experiment with sound, melody and harmony at a very early stage in my life. While I had dropped out of music theory school after just a few months of blowing recorders and flapping hands, I was fascinated by the musical possibilities of these organs – sturdy instruments, played with hands and feet, with modest sound and rhythm banks by today’s standards, but excellent tools in shaping a young musical mind.
A couple of years later, I discovered an old Spanish guitar lying around the house, and started with a C chord. I was 15. Not long after that came a second-hand Fender Strat, a distortion effects pedal and The Beatles, Neil Young, Led Zeppelin, Nirvana and Nick Drake. The high school band. The university band. A grunge band, and with it, my closest encounter with rock 'n roll. I've never really recovered.
Then came the Tascam Portastudio – a glorified four-track cassette recorder. My first compositions were recorded on this dinosaur – the noise worse than a roaring camp fire, the sound thinner than ice, but a revelation at the time for a young aspiring composer. The Tascam laid the foundations for the four demos I would record between 1998 and 2001 in Brussels, Belgium and Franschhoek, South Africa, and for my fascination with music recording and producing up until today.
Musically, I venture from rock and folk to electronic soundtracks and experimental soundscapes. My main instruments are guitar and piano, and I program drums and sounds. I sing occasionally. Withdrawn in my home studio in a small village in rural South Africa and away from the public stage, I write, record and produce whenever I feel inspired.