In this exclusive interview, we connect with Moon Elevator, an innovative force emerging from Melbourne’s eclectic music scene.
Fresh off the release of their EP, All Bridges Burn Behind You, Moon Elevator opens up about their creative evolution, drawing inspiration from both personal experiences and the sounds of their formative years.
Their journey from suburban obscurity to sonic exploration is marked by pivotal moments—most notably, the life-altering discovery of Radiohead’s OK Computer, which sparked their desire to create music.
As they navigate themes of trauma, healing, and transformation, Moon Elevator delves into the challenges of self-production, revealing how a willingness to embrace the unknown has enriched their sound.
With a live performance on the horizon at The Workers Club (tickets here), listeners can anticipate an immersive experience that captures the emotional depth and intricate layering of their latest work.
Join us as we explore the mind of an artist unafraid to confront the heavy and the hopeful in their quest for authentic expression.
HAPPY: What are you up to today?
MOON ELEVATOR: This morning I had an acupuncture session. For the rest of the afternoon I’m tweaking some sounds on my guitar pedalboard and getting ready for next week’s EP launch.
HAPPY: Tell us a little about where you are from? What do you love about it?
MOON ELEVATOR: I live in Melbourne’s inner north. It’s a beautiful little bubble of good coffee, good people and good music. While I love travelling I also really appreciate coming home to the community here.
HAPPY: What did you listen to growing up?
MOON ELEVATOR: Growing up deep in the suburbs I honestly wasn’t exposed to a lot of interesting music.
The idea of making music myself only opened up to me once I discovered Radiohead. Listening to OK Computer exploded my suburban teenage brain.
I didn’t even know if I liked it at first, just that I had to listen to it.
And Thom Yorke’s work in The Smile and on his solo records is still an inspiration to me, particularly in how he balances emotional vulnerability with his experimental wanderings.
HAPPY: Your latest EP, ‘All Bridges Burn Behind You,’ explores personal themes. Can you share what inspired you to create this project?
MOON ELEVATOR: When I was making this record I was mostly just trying to follow the thread of what felt interesting to me and create moments that felt honest.
But once it was finished and I listened to the six tracks as a whole, I was surprised to find more unifying themes across the record than I had intended.
I’ve been on what you might call a bit of a spiritual awakening over the last few years.
A lot of the record relates to that, as well as the difficult times that preceded it.
Each song on the record speaks to some kind of pivot point – a moment of possibility for healing, growth or change.
Although some of the characters in these songs have missed those moments and gotten themselves lost deep in the woods.
I’ve been there too.
HAPPY: You taught yourself production techniques for this EP. What challenges did you encounter in that process, and what did you learn?
MOON ELEVATOR: Probably the biggest challenge for me on this record was allowing myself to lean into spaces in music production where I didn’t really know what I was doing – particularly using analog synthesisers and programming drums.
I think many of us struggle to play in new, unfamiliar spaces without being overly critical of ourselves.
Doing daily meditations helped me break past some of those mental loops.
I found it quite exciting letting go of self-criticism and not worrying about being technically proficient.
Once I stopped being fixated on whether I was “any good” at this new instrument I was playing and started just listening – instead asking “does this feel good?” – the whole magic of experimentation kind of opened up to me in a new way.
HAPPY: Many of your tracks explore heavy themes like trauma. What do you hope listeners take away from your music?
MOON ELEVATOR: The record deals with some heaviness, for sure, but I hope that listeners will hear the joy and catharsis in there as well.
I did write a few of the songs reflecting on my own experiences with trauma and how it can linger in the body and the mind, but I feel like there is a glimmer of possibility for healing, resolution and forgiveness in each song.
It might depend on your own perspective.
Maybe for you personally, it’s a dark time where hope seems very far away?
Or perhaps you’re currently basking in the glow of contentment and connection?
The way I see it, both experiences have their own kind of truth and I think we can learn to grow equally from both.
For me this record reflects a lot on that.
HAPPY: Can you talk about your creative process? How do you approach songwriting and composition?
MOON ELEVATOR: My approach is all about feeling and intuition.
Mostly I want to feel that warm buzz when a song or a sound just hits right.
But getting there is a lot of discipline. I show up every week and chip away at new ideas and songs.
I agree with David Lynch and believe that songs already exist in the universe and as songwriters it’s our job to discover them and welcome them in.
I find it ends up being a dance between imagination and logic.
It’s accessing that big, universal, subconscious part of the self.
But it’s also going deep into editing and obsessing over technical details until it’s right.
I usually know when something is finished and I keep working it until it feels right.
HAPPY: You’re launching the EP with a performance at The Workers Club. What can fans expect from your live show?
MOON ELEVATOR: We’re playing as a trio and the live group is sounding great.
Nigel Moyes, who also drums in Ferla, is behind the kit and he’s a dream to work with.
He has this sensitivity to exactly what the song needs and how to build up or release the tension.
Stephanie Davis who used to play in a group called Pom Pom, is on bass synths.
We’ve been translating my bass guitar parts into this deep, pulsing groove on the Moog Grandmother that sounds, to my ears, even better than the record.
I’m on vocals and jumping between guitars and synthesisers.
We’re also very happy to have two amazing supports for the show.
Kino Motel released their fantastic record “Visions” earlier this year have just returned from a big European tour.
And opening is Damn Williams, a local group that includes two mates from a former band of mine, who are making some exciting music.
HAPPY: Your music reflects personal growth and healing. What advice would you give to someone on a similar journey?
MOON ELEVATOR: Be open to trying something new. Be willing to challenge fixed ideas about what is possible for you.
It might be different for you, but for me, it was a practice of regular meditation that was really transformative – and also something a younger version of myself would have never imagined I’d be doing on a daily basis.
HAPPY: What’s next for you as an artist? Are there any upcoming projects or collaborations you’re excited about?
MOON ELEVATOR: Exciting times are ahead! Moon Elevator is going into the studio in December to start work on a full LP.
I’ve already finished writing most of the record. After making this EP mostly on my own, however, I’m really looking forward to collaborating more closely with Nigel & Steph and tracking the record as a live group.
We’ll be playing a bunch of those new songs at our EP launch.
HAPPY: What makes you happy?
MOON ELEVATOR: I love travelling with my partner and going to music festivals overseas.
This year we went to Rock en Seine in Paris. LCD Soundsystem headlined on the final night and I was smiling ear to ear.
