There’s a moment on the song “Triplets”, when the essence of the self-titled EP from Brooklyn’s Iris Lune clicks into place for the listener. The drums and acoustic guitar slowly drains out of the mix, and Ella Joy Meir’s vocals are left mostly isolated hovering over an empty space of atmospherics. “My heart beats in triplets,” she sings, and then, as if to reinforce the point, she mimics what that might sound like. You can’t tell if it’s manipulation of the vocal, or her original take, but the blend between the felt and the visceral production is sort of the point. The EP traffics in these sorts of moments throughout, some times affecting a muted resignations, others a crescendo of emotion, as on the rousing climaxes of “Leaking.”
We asked the band, which also includes Asher Kurtz, Aaron Liao and Angelo Spampinato, to take us track by track through the EP’s five songs.
“Drink the Twilight”
Floaty but explosive. It was a natural choice to start off the album with this one. We wanted to drop the listener into a vibe and hit hard, hence the heavy drums. The landscape we had in mind when we arranged it was some sort of combination between an enchanted forest and Narnia. Fun thing about the song is that the bell tones were created by using wine glasses as percussion instruments. Ran Gil, our old keyboardist recorded several glasses with varying amounts of water and loaded the sounds into the keyboard. That’s what you hear going on with the bells when the beat drops in.
In a way, this is a cover of ourselves. This was the first song we ever worked on as a band. It was initially written and intended to be a melancholy piano ballad, and ended up as a groovy drum n bass song. It’s amazing to witness how you can stretch the boundaries of a piece of music, and still maintain its core. Just like the myriad ways a movie script can be depicted depending on director, there are endless possibilities of how a song can be arranged and conveyed by highlighting certain aspects and hiding others
I was very much into Son Lux and James Blake at the time I wrote this one. I sampled and recorded a variety of sounds, anything from street noise, to frying eggs and lentils in a jar to classical music . This song was created from those sounds, feeding off of the textures and and rhythms as I built them. I wanted to create a world that had the depth of Blake’s production and the groove of Son Lux’s. The band and producer Dalton Harts took the track into a different level and gave it a new life. Harts also had the idea of brining in Tali Rubinstein, a ridiculously talented recorder player to add fairytale swirls at the end of the song.
We worked on a video for this one with an amazing production company based in NYC (dreambear). The director, however, is based in New Zealand (Markus Hofko) and it was a really interesting collaboration as he was on the other side of the world. However, they managed to tie a different medium to our song and tell another perspective of the story. As an artist, It’s always fascinating to see how different people react to your art and to what they make of your song. When you write something it usually means something specific to you, but once it’s out in the world and out of your personal experience, it can touch someone else in a very particular moment of their lives and resonate differently within them. Sometimes it’s hard to let go of that initial idea, but I find it to be beautiful. It’s the evolution of ideas and art.
“Bring Me the Moon”
The final song of the EP is about believing that nothing is impossible and daring to ‘think big’ and outside the box. ‘If you bring me the moon, darling /I’ll sing you the sky’ – It’s an invitation to look beyond what we can see and know is possible, and let our wildest dreams lead us into new and extraordinary places.
The band will perform on October 9 at Rockwood Music Hall in New York.