If you’re a fan of anything alternative, experimental, and (dare I say?) even whimsical, “Snack Monster” by Star Moles is definitely something worth checking out. The premise for the album is interesting in and of itself — each song is based on a rule of the medieval book by Andreas Capellanus, ‘Rules of Courtly Love’. Through each song, Star Moles immerses us into different stories, all to do with love that drives you insane.
Based in Philadelphia, Star Moles is the collaboration between songwriter, musician, and singer Emily Moales and producer Kevin Basko. To my ears, this duo feels like a match made in heaven — the production of the songs takes the songwritten message of each song and transforms it into a little world of its own.
Released on August 8th of this year, the entire album has an old-timey sort of sound, and both the producing and writing work together to create songs that sound like they could have come out in the 90s/2000s. They achieve this sound by recording it directly to a cassette and keeping the production very raw, prioritizing the acoustic sound of just guitar and vocals. When I read about their recording process, I was immediately blown away by the amount of care and passion that went into it — and it certainly paid off.
The album starts with “Fate”, which begins with a narration of sorts to set up the story that is about to be told. Moales uses a lot of storytelling for its lyrics, with vivid imagery that speaks about a love that is just out of reach. The usage of a simple acoustic guitar as the main instrument lets the raw feelings of the song shine through, and the spoken lines add a lot of personality to the track.
“Tides” is probably my favorite song among the seven. It’s extremely catchy and there’s a bright, romantic energy about it. Its lyrics speak of a love that starts casual but morphs into something stronger, which is when jealousy comes in. The addition of more complex layers of instruments on top of the acoustic guitar-and-voice-only arrangement (which, by the way, already sounds great) elevates the track to a whole new level.
“Key Change” has more of an older 70s vibe, with a unique chord progression and the surprising addition of a harmonica to its group of instruments. The lyrics feel very abstract and poetic, with a good amount of imagery, so I can’t guarantee that my interpretation of it is what the songwriter actually wanted to say. Still, what I get from it is that things can be awful, but life goes on and things change, and it all feels weird and different, but it’s for the best after all.
“Why” and “Heygoodlookin” both have that calm and optimistic energy that defines the album’s sound. The harmonies in “Why” make it a very pleasant listen, and the overall chord progression and topline make the song really stick in your head. The track is based on Rule 8 of ‘Rules of Courtly Love’, which speaks of ‘not starving oneself of love’. Now, about “Heygoolookin”, I would like to ask Star Moles one thing: how do they manage to make a song sound simultaneously somber and optimistic? It is the first and one of the only two strictly acoustic songs on the album, and its sound is, if nothing else, bittersweet.
“Rules of the Court” ‘s title references the idea behind the album, and the track is about, quoting the artist, ‘a romance that abides by these rules, many of which reflect on the tormented state of the lover, pining in secrecy and constant fear of losing love’. The chorus is very Kate Bush-esque, not necessarily because of its production, but Moales’ voice exudes a similar energy to that of her songs. It starts peacefully yet grows into something so powerful and energizing that I can see myself playing it in the early morning to both ease me into the day and hype myself up for what’s to come. Extremely catchy and extremely sweet-sounding, I would probably consider this one my second-favorite song of this collection.
“Killers” ends the album on a similar note to its beginning. Moales’ voice goes back to the speaking tone shown in “Fate”, at least for a brief countdown, and it is the second and last song on the album to have a strictly acoustic instrumental. “Killers” speaks of forgiveness and how guilt can consume you.
Star Moles has nothing short of a unique sound. Emily’s voice, alongside the overall energy of each track, greatly reminds me of The Carpenters and Liz Phair, as well as indie band Alvvays. Still, the way each track is produced and the storytelling-heavy vocal choices the lead singer makes really set their sound apart. I don’t know about you, but after being introduced to “Snack Monster”, you’d better know I’m running to go listen to every other Star Moles song right after.
Written by Ella Lipp
