Released: 6/29/15

Credits:

Robbie Prisco – Guitar + Vocals
Travis Giorgione – Drums + Glockenspiel (simultaneously)
Peter DeMaio – Guitar
David Hodgkinson – Bass
Jesse Asch – Guitar + Aux

Drums recorded by Tyler Taormina
Mastered by TJ Lipple

Thanks to Greg Brech, Mike Tietjen, Matt Wenzel, David Broyles, and Carlos Espinoza for letting me borrow gear to record with.

Artwork by James Ochs

Released: 6/11/14

Flee To The Sea continues to reflect on my hitchhiking journey, and my regression over time living at home. It also reflects on my experiences with polyamory during 2013, and my post-existential-crisis love life in general (a lot of closed doors dressed as open doors).

The album was supposed to incorporate a more psychedelic feel, and bring the sound full circle from Wonderstading to the Killer Wails EP (which started to feel out of place to me). Instead, I wound up honing in on the sounds and ideas I tried to achieve in Wonderstanding, which I couldn’t seem to escape. I didn’t want to force anything that wasn’t coming naturally, and stopped fighting it. Realizing that the Killer Wails EP was falling further from my identity as Beach Moon, I decided to make Killer Wails its own band. The band still exists on LI, but I’m not longer involved (see the Killer Wails album for more info). I still hope to one day release an album that brings it full circle!

In making Flee To The Sea, I learned that as much as I love psychedelic music, I can’t write it (yet). I have a few psychedelic b-sides, including the original title track “Flee To The Sea.” Yep, that’s right… the title track didn’t even make it to the album! I just tacked the title onto an instrumental instead.

Credits:
Charlie Pape - musical saw on Philosophy at 23 at 24
Katie McShane - Cello on Monogamy
All electric guitar used during the making of this album were borrowed from Matt Wenzel and Peter Demaio.

Released: 3/27/12

Wonderstanding is layers of rambling/inarticulate psychobabble about philosophy and the sea, strewn over lo-fi folk guitar and audio loops. Tracks start quickly and end abruptly, crackle and cackle, moan and drone, and sometimes go a little out of tune.

It’s tales of my hitchhiking trip from summer through fall, recorded in my room after the fact during winter of 2011 to early spring 2012. Despite my experiences, lessons learned, and new ways of thinking, something about sitting in that old room, in front of old equipment, stirred old feelings and thoughts. I tried reading my journal to put myself back in certain places/times I really wanted to capture, but I couldn't quite stop the influence of here and now, which in a way was the “then and there” from before I left. Wonderstanding is what transpired.

I made up the word “Wonderstand” during a conversation with James Ochs. After unlearning so much of what I thought I understood, I felt foolish for thinking I understood anything at all. “Wonderstanding” became my philosophy. To “Wonderstand” something is to have ideas about it, but know you will never fully understand it, to always ask questions… you know, to wonder about it! It’s a humbler form of understanding, and it’s the closest I’ll ever get to “knowing” anything at all.

Tags: Post-hitchhi-core, Pre-tentious, Lo-fi, Acousmatic, Twee-Noise, Neo-beat Superfolk

Released: 6/21/11

Half Awake Dream is a collection of songs ranging from 2009-2011, with the exception of the songs “Years Old” and “Old Years” whose origins (though feverishly debated by most scholars) are estimated to be closer to 06-07. Half Awake Dream was a leisurely attempt to write an entire album subconsciously.

Each song was created using a method similar to the “stream-of-consciousness” narrative mode, both musically, and lyrically. Every take was a leap of faith, with hardly any (sometimes none at all) preconceived notions of what was going to happen. The words, songs, and sounds essentially shaped themselves. Even the vocal doubling was done this way, which is why a lot of the vocal lines don’t completely match up. Any intrusive sounds or mistakes were edited out. Each recording was a therapeutic process, a heartfelt representation of subconscious thoughts and buried feelings.

Both Half Awake Dream and Killer Wails were rushed to release the day before I left for a six month long hitchhiking journey. I never actually finished the albums as intended. At the time, I was having my first big existential crisis, and I wasn’t sure if I was coming back, so I just wanted to get them out there as soon as possible.

While I was hitchhiking, I was listening to this album (egotistical, I know). Whenever I made an inner breakthrough, became aware of a deep seeded personal problem, or made profound discoveries about myself, I realized my own stream-of-consciousness ramblings I had been recording at home were coinciding with what I thought were new realizations. This album proved that subconsciously, I already had the answers. It was a mind fuck, but it was nice to know that what felt like random empty lyrics seeping from my mouth in out-of-tune melodies were actually very important and meaningful things for me. I trust my ramblings a lot more now.

Most of the songs were forgotten shortly after being recorded, and therefore will most likely never be performed.

Credits: Paul "Smooth Pawly" Swenson - Cello on The Walk Home pt.3

Released: 6/21/11

Killer Wails is lo-fi Surf EP, featuring the vocal styling of my good friend, Cait “Jim” Morrison. All music was recorded during the same time as Half Awake Dream, but didn’t fit the context of the album. All songs are about the same girl. All instruments used in the creation of this EP belonged to James Ochs.

Both Half Awake Dream and Killer Wails were rushed to release the day before I left for a six month long hitchhiking journey. I never actually finished the albums as intended. At the time, I was having my first big existential crisis, and I wasn’t sure if I was coming back, so I just wanted to get them out there as soon as possible.

There is currently a Killer Wails band on Long Island, but neither Cait nor myself are members anymore. I had been playing bass, but then I moved out to the West Coast permanently during my second big existential crisis (I got over March 2014). Currently, the album is being recorded by Peter Scoma (drums), with Peter Demaio and Matt Wenzel on guitar, Leah Pape and Lauren Diehlman on vocals. I tracked all of my basslines before I left. Leah moved out to the west coast the day before I did, and was never replaced. I was replaced by Nick Femister on Bass, but he moved over to guitar #3 and Keri Liebman took over bass. That’s the whole story, for now…

Released: 12/18/10

≠In 2010, the boys at PRR (only Adam and Naïve members, at the time) set out to each release a split with someone outside of PRR. Kenny (Trestin Eeling) asked me to finish up some of my half-finished recordings for a split with him! Without this push, I probably never would have released anything as Beach Moon/Peach Moon. Thanks, buddy!

Beach Moon/Peach Moon (you can say both, or ether) is the quirky, lo-fi, (mostly) solo project of Robbie Prisco (aka Robbie Da Bobby, PHD).

robertjprisco@gmail.com