Playing over 100 shows in the year 2013 alone in support of the acclaimed pair of EPs Obsession I and Obsession II, the buzz surrounding the music of Toronto duo Moon King never really died down; it's even more impressive when one considers that Daniel Benjamin and Maddy Wilde didn't have a full-length record under their belt until now. Their debut, titled Secret Life, demonstrates a marked improvement in their writing and recording that was definitely worth the wait.
The most apparent change is a shift towards more polished production, cleaning up the lo-fi style that characterized the group's earlier work. The result is much more accommodating to the vocal work of both Benjamin and Wilde in moments of restraint (the delicate "Secret Life"), powerful release (the roaring "Hexe") and soaring harmony ("Impossible"). This newfound sonic space has also granted Benjamin the ability to showcase pleasant subtleties in his music, such as the lower register keyboard bounce of "Roswell," not to mention the dynamic shifts of the aforementioned "Impossible" and the uniquely structured tempo of "Apocalypse," all of which contribute further to Secret Life's compelling balance between blissful and bellowing.
(Last Gang)The most apparent change is a shift towards more polished production, cleaning up the lo-fi style that characterized the group's earlier work. The result is much more accommodating to the vocal work of both Benjamin and Wilde in moments of restraint (the delicate "Secret Life"), powerful release (the roaring "Hexe") and soaring harmony ("Impossible"). This newfound sonic space has also granted Benjamin the ability to showcase pleasant subtleties in his music, such as the lower register keyboard bounce of "Roswell," not to mention the dynamic shifts of the aforementioned "Impossible" and the uniquely structured tempo of "Apocalypse," all of which contribute further to Secret Life's compelling balance between blissful and bellowing.
