We also have a label here that is going to reissue the first five Luna albums on vinyl, later in the year.
Which means there’s no longer any need to shell out silly money for that Australian copy of Lunapark, or scouring Discogs for those hard to find copies of Penthouse.
Better start saving your pennies all the same!
The rest of the interview is also worth checking out of course
In Luna we were just traveling around insulting each other all the time, in a playful way. It probably gets tiresome, so we will try not to do that. When you have some time away from the band, you calm down and remember that you all liked each other to begin with, why you were friends in the first place.
Luna played their last show ten years ago tonight – here’s how it ended…
I kept asking myself, “How do you feel?” I should have felt sad, right? And I was sad, but also knew that I was ready for all this to be over. We played “Indian Summer” for the very last time, and I thought, we’re playing this for the last tim e. I had always enjoyed listening to Sean’s beautiful guitar solo, the way he bent certain notes on his Jazzmaster. Tonight I moved stage left, so I could hear it better. Then I counted down to the end, the two notes that go back and forth all through the song, and we were done playing that particular song…
… and launched into “23 Minutes in Brussels,” which builds to a pounding climax but then falls apart softly and slowly. We exited the stage, and it was a relief to be walking upstairs, knowing that we would not be back the very next night
Luna will be back, they’re playing a comeback show in Los Angeles in April (that apparently sold out in about seven minutes!) before heading off for a fortnight in Spain (and one night in Portugal – where you’ll find me), and then playing some more3 dates around the US (and hopefully elsewhere) during the summer and autumn.
Oh.. I know becuause of the way the modern world works Fortune has been available digitally for weeks and the vinyl has been a bit delayed… but officially Damon & Naomi’s new album was been released today, and it arrives with a lovely (7.0) review in Pitchfork:
Using little more than acoustic guitar, keyboards and Krukowski’s jazz-tinged drumming, they have crafted arrangements for these 11 pieces that sound remarkably full-bodied. And it would appear that the natural constraints of the soundtrack form have worked to their advantage. The songs are concise and focused, hitting their melodic or lyrical marks and then quickly moving to the next scene without getting weighted down by repetition or digression.