We Speak Music
Finding Grace in the Everyday: Goodnight Moonshine’s Business Unusual
For Goodnight Moonshine, the pause forced by 2020’s shutdowns became a period of profound reinvention. Guitarist Eben Pariser and vocalist Molly Venter, accustomed to the rhythms of touring, suddenly found themselves immersed in domestic life, raising three children and confronting the unrelenting demands of home and heart. Out of this crucible arose Business Unusual, a folk-jazz album that celebrates life’s quiet, overlooked moments.
The record explores the paradox of abundance and overwhelm. While the duo’s lives were full in ways they had long imagined, the reality often felt “underwater”—a sentiment many modern families will recognize. The album turns these challenges into art, transforming late-night feedings, kitchen conversations, and fleeting moments of connection into songs that feel intimate and universally resonant.
On the musical front, the album is a nuanced fusion of folk narrative and jazz sensibility. Pariser’s guitar favors improvisational space, allowing songs to breathe, while Venter’s voice communicates warmth and lived experience. With Chilenski on bass and Sands on drums, the music achieves a delicate balance between spontaneity and structure, while Seitz’s mixing preserves the immediacy of the performances without losing sonic depth.
In keeping with its ethos, Business Unusual challenges conventional release models. Nearly 1,000 copies were hand-delivered before the digital launch, framing the album as a gift rather than a product. In this gesture, and in the songs themselves, Goodnight Moonshine reveals an essential truth: when approached with honesty and care, the ordinary moments of life can be extraordinary, and creativity can flourish even in the most unusual of circumstances.
We Speak Music
Concrete Club Pull Off Something Special on “People Like Us”
Concrete Club have always had that thing going on where they’re pulling from post-punk and indie rock without sounding like they’re trying to prove anything. This track takes that further. The synths sit in a way that makes you listen, and there’s this rhythm that just locks in and makes you want to move without thinking about it. It’s the kind of song structure that works on you after a few listens, not just the first time through.
What I’ve noticed about Concrete Club is that they’re not interested in smoothing out the rough parts. They’ve been grinding the Manchester circuit, building an actual following, and their songs aren’t about sounding polished. They’re about real things: what it’s like living in a city, losing track of time on nights out, trying to find something that makes sense when nothing does. “People Like Us” fits right into that.
Rowetta’s featured spot here is the thing that makes it work. Her voice against Jonny Brewster’s, with Kallum Delf on guitar, Mark Demuth holding down the bass, and Jamie Butterworth on drums, it all just clicks. They brought in Jonny McGill to handle the drums on this one, and you can feel the fresh energy that brought, but it still sounds unmistakably like them.
This is a song that gets better the more you sit with it. If you’ve been sleeping on Concrete Club, this is the one to start with. Listen here.
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