As 2015 was wrapping up, an unknown outfit called Joon Moon took the music world by surprise with its first single Chess. The four cuts on the Call Me EP, a beguiling mix of pop and soul, electronic music and jazz, melancholy and elegy, heralded a album that was bound to leave a blast radius on landing. And while the name and vibe of the project evokes a purple veloured, old- Hollywood universe, Joon Moon was borne out of a resolutely contemporary meeting of the minds – the kind the can only happen amidst our jetsetting music scene. Recorded using modern studio techniques along with vintage 60s and 70s instruments, Moonshine Corner places its chips on a subtly modern vibe through twelve lovelorn tracks that weave themselves around pop and trip hop, folk and soul, jazz licks and electronic washes, digging their own groove in the river bed dug by years and years of exposure to Radiohead, Neil Young, and Zero 7. Joon Moon is also, lest we forget, a project that takes on its full magnitude on stage. The bare bones live setup (drums, piano) allows Krystle’s powerful voice to fill the space, swaying from nervy to more subdued laments, hopping around tessitura in the blink of an eye. Consider the live french version of Radiohead’s I Might Be Wrong, which transports you to the fictional smoky jazz club where forgotten, old 50s star Joon Moon holds court behind the microphone.
