Throwing Muses

About

Throwing Muses release their new album, ‘Moonlight Concessions’, on 14

th March 2025 via Fire Records. The album
follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal
imagery.
Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’
goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp
sketches and their suitably abrasive musical arrangements.

LISTEN TO ‘SUMMER OF LOVE’
‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver’s Short Cuts,
overheard conversations, recounted happenings and telling one-liners, all sewn together to illustrate the times as they
slowly mature, fully peppered with original Muses’ vim and vigour.

“A stunning return to form”

PITCHFORK

‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic
strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred
sub-conscious. Kristin: “It’s a picture of how we all present: A little wasted, a little stone cold sober.”
‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change
us. The album opener, it’s a haunting baroque overture, bowed and brooding.

EPK

THROWING MUSES
NEW ALBUM ‘Moonlight Concessions’ out 14

th March + UK/EU Tours

“He said we aren’t just planted here, stagnant, we’re in flux, responding to love like octopuses moving across the
ocean floor. Turns out he was right, and I still owe him a buck.”
‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver
filed with warmth in a safe haven lubricated by tequila.
Written in the differing South Coast environs of The Gulf Of Mexico and Southern California,
‘Moonlight Concessions’ pulls from the star clusters that light both generating optimism and hope in varying degrees.
“New Orleans, the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow
icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”
Elsewhere xenophobes with shotguns prowl, an albatross flutters and is mistaken for a seagull and a homeless dude
with a Spiderman mask raises a toast; perfect conditions for a band whose debut album from 1986 was
retrospectively recognised by Pitchfork as “idiosyncratic and uncopiable”. Thankfully this glorious return to form
ensures that nothing much has changed, from the DIY ethics of their early days.
“Our ‘Moonlight Concessions’ are still lighting the way. Not real spectacularly, nothing bright like a spotlight, just a
glowing, helping each other home.”