Myuné
Moonlight Face Vol. 2
SCORE: 7.5 Lali Punas out of 10
Myuné works within a wide range of sounds and with a discernible sense of direction. Each song feels full but not bloated, and as simple as her singing might be, there's something about her voice that makes it feel heavy even when her words are on the verge of being mere whispers.
While it might seem unfair to make the comparison between Amor Amezcua (Myuné) and Estrella Delgado’s (Estrella del Sol) solo projects just because they come from the the same band (modern shoegaze icons Mint Field), and because both decided extend their artistic personality by making individual explorations of the ethereal and sublime, the are enough similarities for us to wonder why they didn't embark on this trip together in the first place (although there are obvious reasons).
However, Myuné works within a wider range of sounds and with a more discernible sense of direction; she's also not preoccupied with burying herself beneath a luminescent and ethereal veil of sonic textures and timbral manifestations. Estrella moans from the depths, as a lurking mermaid, attempting to lure passersby with her entrancing wails; Amor feels more like a lighthouse: standing tall atop the surface, but still surrounded by mystery and dread.
It may be due to her background as a drummer, but Amor doesn't seem too concerned with texture: her main focus is volume and movement. Texture is only there to accentuate the sense of rhythm and cadence. This is not a groovy album, but nothing feels static and every element seems to be pushing one another. Each song feels full but not bloated, and as simple as her singing might be, there's something about her voice that makes it feel heavy even when her words are on the verge of being mere whispers.
The singing style seamlessly fits into the Trebeljahr/Nadler box of languid, yet beautiful, vocal drones, but Myuné displays a discrete, playful sense of melody, as shown in "Moonlight Face", which is the track where every resource she had been using on the previous songs, converges into a gorgeous mix of electronic and organic elements. This is the track that encapsulates what Myuné is all about: passionate -yet detached- spectral vocals that briefly engage in heart-wrenching falsettos; expressive, nuanced drumming, and polyphonic synth lines spiraling in every direction, creating an ethereal haze.
Musically, the album falls right in place with the works of Sol Seppy, Space Lady and -to some extent- Laurie Anderson, but with a modern Tumblr witch vibe. That could’ve been Moonlight Face’s downfall, but, against all odds, the album actually feels genuine and carefully put together. This is not to say that a sloppy piece of work was to be expected, but with the esoteric/pagan/heathen/witch aesthetic on the rise, it’s only natural to have some hesitation upon approaching projects such as this; personally, I was afraid this might end up just being an offspring of Dani Shivers’ tepid ethereal delivery. Glad to say it is not.
For those who may have thought that Myuné was just another vanity endeavor from a member of a now renowned band, this album may not change your mind completely, but it is safe to assume that, at least, it won’t be considered an utter failure (like most vanity projects are). Some might be put off by its trying too hard vibe, which is more noticeable on “Y una vida también”, with its forced -and somewhat awkward- vocal delivery; Lali Puna fans may feel offended by how the song also feels as if the band is covering David Bowie’s “Lazarus”, and “Carol’s” almost carbon copy of Lali’s style. However, for all intents and purposes, Moonlight Face Vol. 2 is a good album and it succeeds in representing a formative moment on Amor’s individual artistic development.
