MIA BERRIN // Publicist


Arthur Moon is the moniker of award-winning composer/singer Lora-Faye Åshuvud, who has been located “somewhere between tUnE-yArDs and Anna Calvi” by Noisey: “a kind of experi-avant-pop you can dive deep into.” She lives and works in Brooklyn, where she was raised, and collaborates on the Arthur Moon project with musicians like Cale Hawkins (Quincy Jones, Bilal, Wyclef Jean) and Martin D. Fowler (a composer for This American Life).

Åshuvud often writes her lyrics using cut-up newspaper articles, and describes the process of composing the band’s rollicking, iconoclastic arrangements as similarly collage-like. A stubborn autodidact, Åshuvud is the rare multi-instrumentalist and composer who doesn’t read music, which means her queer compositional voice sounds both totally fresh and a little tilted, guided by intuition and improvisation rather than formal training. Åshuvud’s metier is what she calls “incorrect music” and “odd theory”— music that feels good and strange in equal measure. (She also hosts “Odd Theory,” a weekly hour-long radio show with New York Public Radio’s New Sounds.)

Åshuvud’s musical origins were in folk and rock, and with Arthur Moon she takes those influences — an intentionally out-of-tune banjo, or a familiar refrain — and explodes them through the filter of electronic pop to make something totally unique: vocoder translating

Eastern European plainsong, electronic polyrhythm meeting playground taunt. She is, as WNYC wrote, “an artist bent on upending your expectations of what a pop song should sound like.” The result is poignant, raucous, and perfectly “incorrect.”