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Steve Gunn & David Moore

Let The Moon Be A Planet

    Steve Gunn and David Moore’s Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration.

    A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other’s work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar- guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth.

    The exchange began remotely as Gunn and Moore responded to one another’s solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. “We were both fans of each other’s music and this was a chance to try a different process which was much more open,” says Moore. “It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else.”

    Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: “I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things.”

    Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more “detail- oriented” approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination.

    “We didn’t know it was going to be an album,” Gunn explains. “There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back... to arrive at a project after the fact.”

    Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within.

    Cast across the compositions of the album is a gritty, filmic grain — a quality that emerged partially from recording “without the greatest microphones” or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes.

    Across the record’s eight compositions, the rippling impulses of Gunn and Moore’s inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys — side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play.

    “This project was such a simple idea,” says Gunn. “It got down to the very core of where I am or where I was, and where I’m trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process.” As Moore recalls, “Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it... I don’t know that I’ve ever made a record that came about so naturally.”

    While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience — of looking outwards to arrive at one’s natural self.

    The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John’s Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability. 


    A1. Over The Dune
    A2. Painterly
    A3. Scattering
    A4. Basin
    B1. Morning Mare
    B2. Libration
    B3. Paper Limb
    B4. Rhododendron 

    Steve Gunn

    Way Out Weather - 2022 Reissue

      'Way Out Weather' completes Steve Gunn's satisfying transformation into a mature songwriter, singer and bandleader of subtlety and authority. The critically acclaimed Time Off (2013), his first full-band album highlighting his vocals represented the culmination of Steve's steady 15 year migration from the fringes of the guitar avant garde, where he is regarded as a prodigy, and towards his especial style of more traditionally informed songcraft.

      "A voice as rich and warm as Tim Buckley or a young Van Morrison" - The Wire.

      "His tunes unfurl like bales of wire rolling down country roads" - Uncut.

      An enthusiastic and generous collaborator - recently he has partnered with Kurt Vile, Michael Chapman, Mike Cooper, The Black Twig Pickers, Cian Nugent - Gunn's WOW band comprised longtime musical brothers Jason Meagher (bass, drones, engineering), Justin Tripp (bass, guitars, keys, production), and John Truscinski (drums), in addition to newcomers Nathan Bowles (drums, pianos, keys: Black Twig Pickers, Pelt); James Elkiington (guitar, lap steel, dobro: Freakwater, Jeff Tweedy); Mary Lattimore (harp, keys: Thurston Moore, Kurt Vile); and Jimmy Sei Tang (synths, electronics: Psychic Ills, Rhyton).

      A radical widescreen evolution, 'Way Out Weather' is Steve's career defining statement to date.

      Steve Gunn

      Other You

        Acclaimed songwriter and Piccadilly favourite, Steve Gunn returns this summer with the follow up to his wonderful 2019 album  "The Unseen Inbetween".

        Recorded in Los Angeles with Grammy Award winning producer and engineer Rob Schnapf, Gunn sought to create an album that would push his melodic and compositional sensibilities to thrilling new heights. The resulting tracks find Gunn pushing his cosmic Americana to exciting new dimensions encompassing elements of prog, jazz, and contemporary classical music.

        The album also features contributions from Mary Lattimore, Juliana Barwick, Bridget St. John and Jeff Parker.


        Barry says: We all loved The Unseen Inbetween in the shop, and 'Other You' i'm sure will go down just as well. It's quintessentially Gunn, with soaring melodies and perfectly poised guitar sitting wonderfully in the mix beneath Steve's unmistakeable husky vocals. A gorgous work once again from one of the greatest in the 'biz.


        Other You
        Morning River
        Good Wind
        Circuit Rider
        On The Way
        The Painter
        Sugar Kiss
        Ever Feel That Way


        For over a decade, guitarist/vocalist Steve Gunn has been one the American music’s most pivotal figures-conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman (whose most recent studio album he produced). Gunn is known for telling other people's stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. 


        Laura says: Steve Gunn’s talents as a guitarist are well known, whether it be the American primitive finger picking style of his early work, as a member of Kurt Vile’s Violators or from any number of collaborations over the years, but on this album it’s as much about the songs as the guitar. His songwriting conjures vivid images while at the same time leaving space for your imagination to fill the gaps. This is beautifully exemplified on “Vagabond” on which he duets with Espers’ Meg Baird and “Stonehurst Cowboy” a tribute to his father and his generation who grew up in the shadow of Vietnam. And the guitars! Did I mention the guitars? Whether it’s the gentle acoustics of “New Moon” or the hypnotic looping riffs of “New Familiar” and “Morning Is Mended”, they are truly mesmerizing. A wonderfully understated record that’s already worked its way into my all time favourites.


        New Moon
        Stonehurst Cowboy
        New Familiar
        Lightning Field
        Morning Is Mended

        1. New Moon
        2. Vagabond
        3. Chance
        4. Luciano
        5. New Familiar
        6. Lightining Field
        7. Paranoid

        Steve Gunn

        Eyes On The Lines

          “How does a questing psychedelic guitarist transform themselves into classic singer-songwriter? By compromising, in many cases. Brooklyn’s Steve Gunn, however, is managing the transition with uncanny elegance.” - Uncut

          Steve Gunn’s music has always embraced expanse and movement, springing from the simple and profound relationship between humans and their environment. ‘Eyes On The Lines’, his Matador debut and follow-up to the pastoral and highly acclaimed ‘Way Out Weather’, is Gunn’s most explicit ode to the blissful uncertainty of adventure yet.

          Accompanied by a full band - Nathan Bowles (drums, banjo, organ), Hans Chew (wurlitzer), James Elkington (guitar, lap steel, dobro), Mary Lattimore (harp), Jason Meagher (bass, guitar, flute), Paul Sukeena (guitar), Justin Tripp (bass, keyboards), John Truscinski (drums) - ‘Eyes On The Lines’ presents Gunn embracing his urban surroundings through a series of songs that showcase his extraordinary ability to match inventive hooks to deftly constructed melodies full of personality.

          Gunn’s songwriting on ‘Eyes On The Lines’ tells vibrant and evocative tales through a series of both imagined and real life characters and moments but throughout he is more narrator than diarist.


          Andy says: Beautiful rocking, interwoven guitar melodies make this Gunn's most direct record yet, even sounding like the more melodic side of Sonic Youth's Lee Ranaldo on a few numbers.

          Barry says: Melodic country-tinged folk might not necessarily be something you would associate with former psych-rock great Steve Gunn, but that is exactly he has managed to write, and with great effect. This is absorbing and interesting, full of catchy melodies and imbued with a plethora of influence, from both sides of the pond. Intricate and comforting. Brilliant.

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