Described on Bandcamp as “indie rock/noise slop band, est. 2011,” Tiny Moon offers organic, grungy tunes that harken back to the early-to-mid-90s, which happens to be one of my favorite eras of music. I’m thinking Nirvana, but I’m also thinking Mudhoney and the lo-fi stylings of Daniel Johnston and Beat Happening—all good stuff! Their latest musical offerings – the EPs TV Yellow and Anthracite—came out in rapid succession earlier this year, one in May, the other in July. Together, they represent a burst of creativity that draws from and synthesizes a number of complementary schools of rock, including dream-pop, lo-fi, noise, and psych-rock. 

I’m never sure how to ask this question, but is Tiny Moon a band or more of a solo project—or something in between? Who’s in it? Or, perhaps more accurately, who is Tiny Moon?

It’s been me with a kind of revolving door of talented friends, but I’ve also used the name for my solo stuff. The current live lineup includes my dear pals Andrew Miele and Matt Brazil on guitar and bass, respectively, while I drum and sing. Over the years we’ve played anywhere from venues in the city to punk basements, and even the odd pasta fundraiser.

And why the name Tiny Moon? What does it mean to you?

The term “tiny moon” was coined by a brilliant musician named Pat Brier (Queen Jesus, Three Man Cannon, Pay for Pain). It’s that place one sometimes goes when they feel isolated or forlorn, but with a spooky sense of wonder. Really just a silly inside joke though.

Your Bandcamp bio says you’ve been around since 2011. How has Tiny Moon evolved in the intervening years? What’s your journey been like?

The project has gone from essentially unlistenable lo-fi schlock to that of the slightly more listenable variety. I’ve grown immensely as a songwriter/musician, “producer,” and bandmate in the interim (I hope) but still maintain that garage rock sloppiness.

I’m curious about the two EPs that you released in May and July of this year. I’m thinking about how they could have been released as a single album, but I’m also guessing there was a rationale behind releasing them separately. Can you talk about how the two projects differ from each other? 

The main reason I split the records up is the sound. The two EPs have differing overall vibes and influences, as well as approaches. TV Yellow is heavier and hops around various rock subgenres. More of a party record. Whereas Anthracite is an attempt at a more cohesive, sort of psychedelic alt-country divorce record. There is some overlap of course, and I do see them as companion pieces. A tiny moon one-two punch.

You mention in the liner notes to Anthracite that the EP was both written and recorded in Scranton, Pennsylvania. How did that setting influence or even inspire the music?

Anthracite was named for the type of coal that put my hometown of Scranton on the map before the world moved on. Scranton’s a post-industrial city working on its future while also looking back. It’s really American in that way— a big reason why the American version of The Office is set there.

But Scrantonians have the resilience and pride (as well as humor) to keep doing their thing. Not unlike me and my little songs. Anthracite is about coming back home and figuring out what’s next, with fun little guitar riffs thrown in.

I also noticed that while your Bandcamp bio lists New York as your home, your Twitter bio says it’s Pennsylvania and New York. What’s the story there?

I started tiny moon in Philadelphia, where the indie/punk scene showed me how music could be made, but for the past decade we were based out of New York. We played wherever we could, mostly in Brooklyn and Queens. 

I was born in Scranton though, and if you know anyone from Northeastern Pennsylvania, you know these roots run deeper than a Lackawanna County sinkhole. 

At the moment my bandmates are based out of both states, which naturally provides its own logistical issues. But that’s rock and roll baby.

I understand that you founded the Temple University Chess Club. Do you see any parallels between music and chess?

Oh wow, you’ve done your research here. I co-founded it with a bunch of my friends, most of whom were also in rock bands. We noticed Temple had no chess club at the time and saw it as an excuse to goof off in an academically acceptable way. 

As for parallels between music and chess, I guess a big one would be the requirement of focus and perseverance. You only get better at something by committing to it, and you only get great at something by learning from mistakes and never giving up.

Weird question about lyrics: Half the time when I listen to your song “RIP,” I swear you’re singing “rest in piss.” Is that right?

Yes, that’s right.

In 2017, you released an album titled Sitcoms on Mute, and the title track is an instrumental. Is there a benefit to watching sitcoms on mute—as opposed to with sound? 

That record, the only one by tiny moon not self-produced, was made with my friend Tim Jordan. He’s an amazing musician and leader of a band called Sun Organ. 

I guess the title came mostly from the fact that I wrote a lot of the record while shows like Frasier and Peep Show played muted in the background. Not sure if Springsteen does it that way but to each their own.

But to answer your question, I can think of a few sitcoms that would be drastically improved by total silence.

You’ve obviously been busy lately. Do you have any other irons in the fire?

We have some shows planned for later this summer and fall, and I’m always working on the next record. Before the end of the year I might put something else out, who knows? 

Streaming service algorithms don’t seem to reward long form musical statements, but there’s nothing like an all-killer no-filler full-length album, which is the ultimate goal.

Thanks for taking the time to talk to me! 

Thank you, Marc! What you do for independent artists cannot be overstated, not to mention your own musical output. Thrilled to be a part of the gang.

Thrilled you’re part of it!