George Appleton, under the moniker Moon Blue, has realized a dream I’ve long harbored: exchanging a high-stress life for one of leisure and ease in Italy, a move that has evidently enhanced his joy. I firmly believe that there is such a thing as the wrong place for someone—a place that doesn’t suit their personality. Despite what many might say, if you give it some thought, you’ll realize that location is one of the most crucial factors. This is especially true for artists who absorb everything around them; the environment is of paramount importance. “I find so much about Italy inspiring. I love the pace of life that many here follow. It’s slower, and less preoccupied with work. You find people eating out and drinking, or playing cards at all hours, and there’s always a lively atmosphere.”
His latest single ‘Sotto La Luna’ – out via Factory Flaws – has this laid-back vibe that probably comes from living in Italy and soaking up the good life there. The song’s got a bit of that 70s disco feel, and he’s even mixed in some Italian lyrics, showing off how he’s getting into the local scene and making it part of his music.
In our chat, we talked not just the cool places in Italy, but also how the ‘Twin Peaks’ soundtrack inspired him, and how working with his partner has shaped his music and visuals.
photography by Berta Aguilar
Hello George, how are you today, and where are you currently? (smiles)
Hey! I’m great, thank you. I’m currently sat at my apartment in beautiful Roma.
“Sotto La Luna” marks a new direction with its 70s disco influence and Italian lyrics. Can you share the creative process behind incorporating Italian lyrics into your music?
I’ve been getting really into Italian pop music recently, and as my Italian is getting better, I felt it was a natural thing to do. Being an English musician in Italy is both really beneficial, and also a little limiting, I think. Italian is such a beautiful language that I feel it will only make the songs stronger and more unique.
The introduction of the track pays homage to the ‘Twin Peaks’ soundtrack. Why did you choose this?
It’s funny, I originally wrote the song without the keyboard at the beginning. After I was playing it back I thought that those chords could sit perfectly, and they did! I’m a huge, huge Twin Peaks fan and think about the show far more often than is probably normal, so the homage felt right haha.
The song clocks in at just under three minutes, a trend where tracks consistently fall below the three-minute mark. Is this brevity intentional, reflecting the dwindling attention spans in an era flooded with releases, necessitating a more direct approach?
Although our attention spans are definitely dwindling, it wasn’t an intentional decision for that reason. My intention for this project has always been to frame psychedelia through a pop lens, and consequently the tracks generally seem to follow a generic pop-structure, with the exception of one, or two songs.
Your work is noted for its dreamy, psych-pop aesthetic. How would you describe your music in your own words?
I would describe it as psychedelic pop, although now I’m drifting more into 70’s inspired funk/disco. I generally try to incorporate what I’m inspired by at the time when writing music, without copying. The EP was really inspired by Japanese pop legends like Hiroshi Sato and YMO, whereas Sotto La Luna in particular was heavily inspired by both UMO, and Prophet.
“I love the pace of life that many here follow. It’s slower, and less preoccupied with work… and there’s always a lively atmosphere.”
Italy plays a huge role in your music and life. Beyond the language and people, are there any specific aspects of Italian culture or music history that you find particularly inspiring?
Honestly, I was having this conversation just the other day. I find so much about Italy inspiring. I love the pace of life that many here follow. It’s slower, and less preoccupied with work. You find people eating out and drinking, or playing cards at all hours, and there’s always a lively atmosphere. Additionally, the weather is perfect (with the exception of July/August) and walking around a city like Rome and realising in real time just how lucky I am to be surrounded by all this history and beautiful architecture is humbling. As for Italian music, I think there’s tonnes of hidden gems here. Not necessarily hidden for those in Italy, or who speak Italian, but from the rest of the world. Artists like Calcutta, Andrea Laszlo De Simone and Nu Genea are all big in Italy, but I’d never heard of them when living in the UK, even when I tried keeping my finger on the pulse of the ‘indie’ scene.
How has living in Italy changed your perspective on life compared to when you were in the UK?
For one, I’m much happier in general. My friends have all commented on that. I feel that my approach to living has changed. I don’t want to be a visitor here, I want to integrate and understand the culture as best I can, and so I am trying to live as a local. Brexit was such a bitter disappointment for me and my family and friends that at that moment I’d made my mind up to get out, and being here has only cemented the fact that I don’t see my future in the UK. Life has become significantly more social and simultaneously far more centered around learning and trying to grow as an individual in ways I never really attempted in the UK as a result of being in my comfort zone. I feel like I appreciate life more now than I ever have before, and I’m so grateful for that.
“Trust yourself, trust the process, and you don’t have to be the most technical musician to write good music.”
Your partnership seems to have a very important role in your music. What’s it like working closely with your partner on your projects?
Well, Berta is awesome. I’ve never had a relationship like this before. It’s like living with a best friend. She is unbelievably talented and always creating, which then inspires me to create and vice-versa. It’s a really great dynamic between us and she’s essentially the source of 85% of my inspiration and I inspire some of her work, also (but probably only maybe 15%… she’s just more inspiring, I guess haha). Berta has a great eye for aesthetics whereas I absolutely do not, and so I tend to just follow her lead with regards to the visual side of the project. She also is the only person who can not make me feel wildly self-conscious when taking photos. It’s perfect.
I love the nostalgic pictures and mood on your Instagram. Are you a nostalgic person yourself?
Thanks so much! No doubt. Nostalgia is a weird emotion but I’m definitely a sucker for it. I feel nostalgic for experiences that absolutely sucked at the time, but as time rolls on I feel myself longing for it again. I think everyone has that, though. There is something melancholic about the passing of time.
Reflecting on your musical journey so far, what are the most valuable lessons you’ve learned?
Three big takeaways! Trust yourself, trust the process, and you don’t have to be the most technical musician to write good music. In fact, sometimes being too technical can limit creativity. An additional one, being kind goes a long way, so I try to be as authentic as possible and if people connect to that, then amazing! And if not, then that’s fine too.
Thank you so much for your time!
It’s been a real pleasure. Thank you.
Follow Moon Blue for more:
www.instagram.com/moonbluemusic
