Artist Profile: Kelly Moonstone
Kelly Moonstone has been etching her ethereal vocals and clever hooks onto the spines of her tracks since the release of Frank Ocean’s Channel Orange. In recent years, she’s been steadily returning to the grindstone, releasing a song with poetic virtuoso Mavi and, in 2023, was featured on Navy Blue’s critically lauded album Ways of Knowing. A tour through her brief discography makes one thing abundantly clear; this artist is in possession of a rare combination of charisma and soul-soothing, dripping euphonism.
At the genesis of her career she worked under the name of The Afr0dite, a powerful and swooning persona whose presence very much transferred across the spatio-temporal gap of the microphone. Her first tape, admittedly made primarily from beats off YouTube, shows flashes of the prowess she would display on later tracks. She remarks, however, that this tape represents illusions she had about her music career: a desire to stay shrouded behind the veil of anonymity.
“I always had this very unreasonable belief in my career that… [my] face could remain hidden somehow. I never really wanted to be famous. It wasn't really about that… I just didn't like prying eyes. I didn't like people looking at me and perceiving me. I still struggle with that sometimes, honestly, but definitely not in the same capacity.”
At the start of the pandemic, Moonstone was still somewhat obscure. She’d had studio sessions and multiple managers, but her tape and singles had not found much traction. However, as a remedy to what she cites as the “existential dread” of pandemic-era national turmoil, she began making covers of popular songs and putting them out on social media.
Shortly after, she began fully doing her own production, imbibing her tracks with the distorted kicks and catchy melodies which mark her current style.
This was a step which she previously thought to be out of bounds for her creatively, but, as her career grew, she felt compelled to grow as both an artist and a person. This was especially motivated by her desire to work as self-sufficiently as possible, independent of the give-and-take nature of the music business.
“Being self-sufficient is one way that I've really grown, because I tended to depend on other people. I noticed, over the course of my career, there’ve been a lot of dudes helping me out with stuff, and I don't want to ask guys to do anything for me if I don't have to. Because some of the time, definitely not all the time, but some of the time it can be conditional, and I don’t respect that.”
During this era in her career, she also met and became connected with a number of established artists, including Joey Badass and Saba, who encouraged her to keep creating on her own path.
This journey culminated with the release of her album I Digress… in 2023 with an Anniversary Edition being released in 2024. Featuring her singles “Psilocybin”, “Sinner”, and “Digress” as well as new tracks such as “Burn Your House Down”, this project represents the blazing, independent spirit of a remarkable voice and talent.
Molto Ohm, the experimental electronic project of musician Matteo Liberatore, now has two projects under its belt, and with the release of Reality Pills in late February, he has furthered the unmoored sound and cultural commentary that he envisioned when he began work under the moniker. With over a decade of experience in the experimental and improvisational music scenes, the Brooklyn-based artist is certain to continue expanding the creative dialectic and freedom of energy that Molto Ohm is founded upon.
Vivian, the Brooklyn-based shoegaze band, operates with a certain intentionality and clarity of sound that is informed not only by frontwoman Christine Bee’s years of experience in the New York rock scene but also by the unique and interminable contributions of each of her bandmates– Liam McCarthy on bass, Michael Ruocco on Drums, and Claire Collins on vocals and guitar. Their latest EP, “Third Eye Demos”, serves as an indication of the distinctiveness of the sounds to come on their debut LP. They combine a tasteful angst with a lyrical earnestness– a clear desire for loudness with a deeply-rooted sense of sonic purpose– and the result is a sound that is undeniably Vivian in its essence.
Nolan the Ninja, the storied Detroit-raised and Chicago-based rapper and producer, has been churning out densely lyrical tracks and entrancing instrumentals for over a decade. Now, as he reflects back on his career, and pushes the echelon even further with recent collaborations with Open Mike Eagle and the continued expansion of his own catalog, he knows that his unique creative imprint has set the foundation for everything he’s accomplished.
Restless Taxis, the genre-transient, noise-rock-influenced band based in London, has found their niche with the addition of Jess Nwosu and Dylan Haynes to their lineup just over a year ago, operating within the intuitive combination of the trio’s creative influences to bring a vision of a new sonic wave to fruition– one that incorporates a deeper sound and rhythm of the Black diaspora into the crushing sounds and cataclysmic renderings of shoegaze and post-punk’s usual genre-motifs.
Virga, hailing from the sweeping plains outside of Lawrence, Kansas, sits contra-positioned somewhere between a minimalistic shoegaze and a nose-diving slowcore, reflecting the space and openness of the physical topography they call home. Yet, under frontwoman Faith Maddox and the ongoing creative contributions of her bandmates, the project continues to plow onward into increasingly necessary and starkly conceptual topics– with their latest EP, “The Perfect Freedom of Single Necessity”, serving as the next logical touchstone in this continuing progression.
Star Card, the bedroom-born and NYC bar-blossomed rock band, formed initially from frontperson Calley’s undeniable drive for creative revelation. But as the project has found its footing, and cemented a sound with the release of their debut album Trash World, it has expanded and toiled beyond the confines of Calley’s home recordings– carving out a lane as a deeply singular voice within New York’s bustling DIY scene.
Julia, the rock band from North Carolina, is in a sense only nominally a funk-oriented group– their P-Funk and RHCP foundations are certainly embedded deep in their creative roots– but with their new album, “Fish in the Percolator”, they have taken their sound much further into the expanded territories that each of their members provides, producing an energetic and delectable mix that at least fleetingly incorporates virtually every flavor of rock. “Fish in the Percolator” is, in short, a cunningly unique project– an honest representation of what makes Julia.’s creative presence so captivating.
Kleo, the Copenhagen-based indie-pop artist, has made waves with the release of her debut project Event Horizon, gracing complex and shimmering instrumentals with her explorations of love, loss, and the catastrophes and triumphs in between. But Event Horizon, and her catalog as it appears on the page, fail to tell her story of artistic and personal maturation, and her debut album serves as the culmination of this journey.
sleepazoid, the post-punk-influenced, alternative rock band based in Melbourne, has taken another step forward into their rough-edged sound with the release of their second EP “New Age” in early 2026. In doing so, they have done more than log another entry into their catalogue, however– they have crafted a testament to their creative cohesions as a band, a refinement of their sonic intentions, and a staunch move towards a striking dynamism.
Ken Park, the recording project of San Diego-born and New York-based songwriter Liam Creamer, took its first steps into the limelight with the release of Creamer’s debut, self-titled EP on Feb. 26. For a distinctly creative spirit who had truly no other path than music, however, the EP represents more than a debut– it is a massive sigh of relief, heaved from a standpoint of emotional catharsis and passion.
Tōth, the solo art-pop project of Brooklyn-based multi-instrumentalist and singer-songwriter Alex Toth, has reached, in many ways, its culmination with the release of his third LP under the moniker: And the Voice Said. After years of personal and creative turmoil and triumph, Tōth has come to represent a needed outlet for its founder, and, with the arcing rhythms and fresh energies the new project takes on, it seems as though that outlet has found its fruition– one that takes a much different shape than the two previous entries in Tōth’s catalogue.
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Zion Battle, the Manhattan-based singer-songwriter who operates under the moniker Katzin, has taken a full inventory of his various influences and inspirations with his debut album, Buckaroo. In doing so, he has communicated a profound and vulnerable story of the shaping of an identity– finding his own thoughts and creative mythos basked in the warm light of a pop-influenced folk and country milieu.
Cistern, the British Columbia-based indie rock band, has seen its fair share of sonic transformations since its raw beginnings, opting to linger in the profound mixture of the tastes and creative desires of its various members rather than any concrete vision or constricting artistic pursuit. With the release of their latest album, Rhizome, however, they have marked off the end of a distinct era for the band, and their coming shift is indicative of the freeform creative approach they have collectively decided upon.
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Peaer, the Brooklyn-based, math rock-influenced band helmed by Peter Katz, is at the precipice of a major creative shift after over a decade spent together. With Doppelganger, their most recent project, marking the end of an era for the group and other members of the band moving onto other phases of life, Katz has determined it is time to take the project back where it began: into his own hands.
Bibi Club, the Montreal-based indie pop duo of Adèle Trottier-Rivard and Nicolas Basque, has been carving out distinct vibrations since their formation in the late 2010s, operating in the midst of the direct action and sonic intimacy that has defined their creative process from the very beginning. As they have continued to work together, however, Bibi Club and their artistic partnership have evolved tremendously, with their forthcoming release, Amaro, serving as undeniable evidence of that fact.