And now for a Tiny Desert Concert. That’s when we bring local bands into the KJZZ studios to play a couple songs for us and talk a bit about the music. Today we hear from Kristina Moore of the band Foreign Language.
The group has a unique sound that can be tough to pin down. It’s soft but rich, and ethereal but substantive.
Full conversation
KRISTINA MOORE: This question is always so hard for me. I would have described it as some sort of experimental folk, not so much reflected in these particular songs, but in our current music, I'm using more guitar, more like electric guitar and things like that. So it's just sort of become experimental.
STEVE GOLDSTEIN: And again, I know you're evolving on this, but it's fascinating because ukulele, drums and then this sort of interesting keyboard, but then this sort of this interesting electronic piece that I'm not sure what, if you could describe it for us?
MOORE: The Omnichord?
GOLDSTEIN: Yeah.
MOORE: It's this really neat product of the ‘80s.
GOLDSTEIN: I should have recognized it.
MOORE: It's supposed to simulate an auto harp, so it's set up like an auto harp, and then it's got a sensor that you strum, and it's got this really nice like harp sounds that it plays, and then these like bass notes that you can turn the chords up on so those drone out.
GOLDSTEIN: But you're playing the ukulele?
MOORE: I am.
GOLDSTEIN: And what appeals to you about the instrument and the sound it gives you?
MOORE: Initially, what appealed to me was that it was four strings, and I was not good at string instruments. I was a piano player. I played accordion, and so like, jumping from things like that to the ukulele was very different. So I ended up just having one.
It was just like out of convenience and because it was less challenging than a guitar. And so now moving on to guitar, it's different because that's what I've always preferred, I suppose. So there is no cool story as far as what I like about the sound. That's why I run it through so many pedals and reverb and stuff. I'm like, trying to make it into a guitar and it's a ukulele.
GOLDSTEIN: So, So Kristina, why don't you guys play a song for us?
MOORE: Sure, yeah, this song is called “Wax Indignant.”
[MUSIC]
GOLDSTEIN: What really stood out to me is, you know, there's that sort of dreamy nature, if you don't mind that.
MOORE: Oh, yeah.
GOLDSTEIN: And, and the harmonies, of course, as well. So dreamy. What do you think about that description? You think it fits?
MOORE: I think it's great. Yeah, I like to try and juxtapose dreamy with droney. And that's why we have, you know, like things like that Casio that we use, and other elements like that in our recorded album and stuff. I wanted to have this sort of, like ethereal nature, but also like something almost ugly or darker to sort of counterbalance it.
GOLDSTEIN: Well, so is that a mood you're aiming to get listeners to feel?
MOORE: Sure, yeah. Absolutely, yeah. I'd like to think that a lot of our songs are very contemplative, and it's actually a funny story. This guy I was playing with, changing hands and the guy asked me why I write such sad songs. And I was actually really pumped, because I never thought they were sad. I like the idea of having, yeah, like, they can be very, very dark, but also, like, there's a lot of other emotions that I want to evoke when writing.
GOLDSTEIN: So your lyrics to me had, there's a complexity to them, and almost there's, they're profound, in a sense, as well, and they're also very literate. I mean, it's, it's, you know, these are not sort of standard themes, necessarily. And I think that makes a person sort of digging deeper, to want to listen to them. Is that what you're aiming for as well?
MOORE: Yeah, that's nice to hear. Thank you. Yeah, I definitely that's, that's what I'm aiming for. I want to cover a lot of ground lyrically, and sometimes I'm always afraid it becomes too labyrinthine, you know, people can't pull a lot out of it, because it's just like, “What is she talking about anymore?”
GOLDSTEIN: There's a balance, though, between that dreamy or droney aspect you're talking about and then the lyrics that go with it, because it's almost like there's a darkness or a heaviness to the lyrics and a thoughtfulness to it, and yet it comes in a package of sound that is actually fairly easy to listen to, in the sense that it's not, it doesn't feel quite as threatening or pounding, but you get a chance to listen to music, and then when the lyrics come in, you don't feel overwhelmed, necessarily, because it's a nice blend.
MOORE: I think about a song like a room, and you sort of like feng shui, the room, you need to have everything in its right place, and you don't want it to be too crowded, but you definitely don't want it to be too minimalist. And so it's like a song is almost like a physical space that you occupy with all of these things. And so the lyrics, I would hope, yes, would definitely balance out with whatever sort of tones and quality of sound that we're gaining from the instruments and things like that.
If you’re in a band or know of one you’d like to hear on air, send us a note at [email protected].
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