Landing on the Moon

The album cover was really cool looking to me, nothing more than an illustration of a car from the 70's superimposed with a carriage, and perhaps what Landing On The Moon are trying to say with the title We Make History Now (Young Love) is that they are going to be part of the new fabric of the world. However, I didn’t find them to be 100 percent historic. 50 percent, yes.
What I liked is their formula of rotating songs between a male and female vocalist, but the male vocals seemed lackluster, or at least in this setting. The vocals were okay, but it just didn’t quite match with what they were doing. What I did like was the vocals of pianist Megan Morgan, who I hope is thinking about using her name on the marquee so that people will focus on her. I’ve always been a fan of slightly cutesy vocals with a hint of bitterness and sarcasm, where you’re taking in by how beautiful it sounds but you also dig the ugliness of it.
I also liked the drumming of Oliver J. Morgan, the leader of the band. This guy has some chops and I can see him and the rest of the band pulling the audience in and just going in deep by playing as well as they do here, but with more strength and power. Now, this isn’t to say that Landing On The Moon should eliminate the male voices, because I did like it when Morgan harmonizes with Morgan (potential future project: Morgan & Morgan) or guitarist John Klemmensen, it reminded me a bit of The Muffs and Hammerbox. I think what the male voices need to do is put themselves forward in their songs and not hesitate to give it their all. I’d like for them to balance things out a bit more, something that’s well-rounded and not focusing on just one person. If they’re able to do that on a future release, other indie rock bands might as well not consider doing anything anymore. - thisisbooksmusic.com

The album cover was really cool looking to me, nothing more than an illustration of a car from the 70's superimposed with a carriage, and perhaps what Landing On The Moon are trying to say with the title We Make History Now (Young Love) is that they are going to be part of the new fabric of the world. However, I didn’t find them to be 100 percent historic. 50 percent, yes.
What I liked is their formula of rotating songs between a male and female vocalist, but the male vocals seemed lackluster, or at least in this setting. The vocals were okay, but it just didn’t quite match with what they were doing. What I did like was the vocals of pianist Megan Morgan, who I hope is thinking about using her name on the marquee so that people will focus on her. I’ve always been a fan of slightly cutesy vocals with a hint of bitterness and sarcasm, where you’re taking in by how beautiful it sounds but you also dig the ugliness of it.
I also liked the drumming of Oliver J. Morgan, the leader of the band. This guy has some chops and I can see him and the rest of the band pulling the audience in and just going in deep by playing as well as they do here, but with more strength and power. Now, this isn’t to say that Landing On The Moon should eliminate the male voices, because I did like it when Morgan harmonizes with Morgan (potential future project: Morgan & Morgan) or guitarist John Klemmensen, it reminded me a bit of The Muffs and Hammerbox. I think what the male voices need to do is put themselves forward in their songs and not hesitate to give it their all. I’d like for them to balance things out a bit more, something that’s well-rounded and not focusing on just one person. If they’re able to do that on a future release, other indie rock bands might as well not consider doing anything anymore. - thisisbooksmusic.com

one we have left. landing on the moon reach for the stars, the name takes on a sufficient respect to measures. The five-member troupe from Omaha can do. it moves the heart with intoxicating melodies, which are packed in meager blanket that poisoned along with sprawling courses, loves the abstract details, the male / female vocal harmonies, and much more, which in the history of music was a bit ago. the band to succeed John Klemmensen in all the diversity-a dense, direct sound, the groove. they shared the stage with Portugal already. the man, cursive, vampire weekend, and others. their album "we make history now" seen this day a new edition for the American market and is enthusiastically applauded. attention to detail, but not overly intellectual, playful, but not without limits. very good! landing on the moon - big e
young love records has long been an adult label, because it is not hoarding the talent, but they can go to the listeners. that the works to prove the fine record that left this wrought. We hope that in future not to perseverance and good young talent shortage.
- dasklienicum.blogspot.com (Germany)

one we have left. landing on the moon reach for the stars, the name takes on a sufficient respect to measures. The five-member troupe from Omaha can do. it moves the heart with intoxicating melodies, which are packed in meager blanket that poisoned along with sprawling courses, loves the abstract details, the male / female vocal harmonies, and much more, which in the history of music was a bit ago. the band to succeed John Klemmensen in all the diversity-a dense, direct sound, the groove. they shared the stage with Portugal already. the man, cursive, vampire weekend, and others. their album "we make history now" seen this day a new edition for the American market and is enthusiastically applauded. attention to detail, but not overly intellectual, playful, but not without limits. very good! landing on the moon - big e
young love records has long been an adult label, because it is not hoarding the talent, but they can go to the listeners. that the works to prove the fine record that left this wrought. We hope that in future not to perseverance and good young talent shortage.
- dasklienicum.blogspot.com (Germany)

Rating: 3.5 out of 5 (Great)


On July 20, 1969 Apollo 11 delivered Neil Armstrong and Buzz Aldrin to the surface of the moon. Many consider it humanity’s greatest standing achievement, one that is certain to take its place in history as one of the single most important events of all time. Thus, Landing on the Moon’s debut album entitled We Make History Now seems like a bold, if not conceited, analogy with what amounts to a highly unknown band releasing their very first album. However, one can’t help but be impressed with their ambition, as Landing on the Moon prepares to take one small step of their own into the world of professional music artists. This may not have an impact on humanity as we know it, but it definitely comes with high career stakes for everyone involved in the band.

As with many debut records, We Make History Now comes with an element of mystique. Very few listeners knew what to expect from this Omaha based indie-rock band, especially if they had no prior knowledge of their influences. The best way to summarize the band’s sound is alternative/indie-influenced rock with a penchant for classical experimentation. Megan Morgan’s piano work is heavily included to balance out the more straightforward rock sound that the rest of the band brings to the table. Aside from their ability to incorporate so many genres into their music, the band also features both male and female vocals from drummer Oliver J. Morgan and pianist Megan Morgan, respectively. The harmonies between these two typically provide the best vocal moments for the band, as neither seems confident enough to claim the frontman role as his/her own, an issue that has plenty of time to be ironed out and has not hindered them thus far.

Landing on the Moon’s We Make History Now is something of a hit-or-miss album in terms of individual tracks. There are clearly times when the band is grasping at straws trying to create a consistently flowing innovative experience. For example, “Letters” is a bit too slow to hold one’s interest and the album opener “Time is Gone” is quite generic and one-dimensional compared to what the band shows themselves to be capable of. With that said, they are truly a wonder to behold when they reach their stride. “She Wants” is a touching and completely original song that manages to anchor the album. It features strong vocals from both Morgan & Morgan, resulting in beautiful harmonies that are accented with stunning piano notes and an attention-grabbing guitar solo that closes the song out in an unexpectedly intense fashion. “Big E” is an atmospheric gem, starting off with light electric guitar plucking that leads into suppressed drumming, layered with Oliver Morgan’s best vocal performance to date. The song features a beautiful midsection that revisits the light guitar notes from the opening minute, then ends with an instrumental crescendo that reaches its pinnacle with a majestic balance of crashing drums and high piano notes. From a technical standpoint, “Big E” is easily the highlight of We Make History Now, although the album is full of moments that will intrigue more than just the casual listener.

As a whole, Landing on the Moon presents us an unprecedented tight sound. This may seem logical, considering that that band is made up of, as they describe it, “a set of siblings, a pair of spouses, and two friends that are like brothers to the rest.” Considering that We Make History Now is the band’s first official album released, they come across as seasoned veterans of the music scene with outstanding chemistry. This also presents what might be their biggest flaw, which is the absence of one band-defining vocalist. Megan and Oliver Morgan share the vocal duties almost equally, alternating between the individual spotlight and duets. Here, Megan Morgan appears to be the stronger of the two vocalists. She portrays more confidence and a sarcastic/sinister undertone that allows you to feel the emotion underneath her beautiful melodies. By no means are Oliver’s vocals lackluster, they just pale slightly in comparison. However, as the listener will find, the band’s ability to choose the right moment for Oliver’s voice, Megan’s voice, and harmonizing is exceptional and thus, a potential problem within the band is turned into a strength.

This is not a coming of age album for Landing on the Moon. It will not define our era of music, and it most likely won’t define their career either. However, We Make History Now is a standout effort that will undoubtedly help Landing on the Moon make a name for themselves. And as the analogy goes, they might not have “landed on the moon” quite yet, but we definitely have lift-off.
- sputnikmusic.com

Rating: 3.5 out of 5 (Great)


On July 20, 1969 Apollo 11 delivered Neil Armstrong and Buzz Aldrin to the surface of the moon. Many consider it humanity’s greatest standing achievement, one that is certain to take its place in history as one of the single most important events of all time. Thus, Landing on the Moon’s debut album entitled We Make History Now seems like a bold, if not conceited, analogy with what amounts to a highly unknown band releasing their very first album. However, one can’t help but be impressed with their ambition, as Landing on the Moon prepares to take one small step of their own into the world of professional music artists. This may not have an impact on humanity as we know it, but it definitely comes with high career stakes for everyone involved in the band.

As with many debut records, We Make History Now comes with an element of mystique. Very few listeners knew what to expect from this Omaha based indie-rock band, especially if they had no prior knowledge of their influences. The best way to summarize the band’s sound is alternative/indie-influenced rock with a penchant for classical experimentation. Megan Morgan’s piano work is heavily included to balance out the more straightforward rock sound that the rest of the band brings to the table. Aside from their ability to incorporate so many genres into their music, the band also features both male and female vocals from drummer Oliver J. Morgan and pianist Megan Morgan, respectively. The harmonies between these two typically provide the best vocal moments for the band, as neither seems confident enough to claim the frontman role as his/her own, an issue that has plenty of time to be ironed out and has not hindered them thus far.

Landing on the Moon’s We Make History Now is something of a hit-or-miss album in terms of individual tracks. There are clearly times when the band is grasping at straws trying to create a consistently flowing innovative experience. For example, “Letters” is a bit too slow to hold one’s interest and the album opener “Time is Gone” is quite generic and one-dimensional compared to what the band shows themselves to be capable of. With that said, they are truly a wonder to behold when they reach their stride. “She Wants” is a touching and completely original song that manages to anchor the album. It features strong vocals from both Morgan & Morgan, resulting in beautiful harmonies that are accented with stunning piano notes and an attention-grabbing guitar solo that closes the song out in an unexpectedly intense fashion. “Big E” is an atmospheric gem, starting off with light electric guitar plucking that leads into suppressed drumming, layered with Oliver Morgan’s best vocal performance to date. The song features a beautiful midsection that revisits the light guitar notes from the opening minute, then ends with an instrumental crescendo that reaches its pinnacle with a majestic balance of crashing drums and high piano notes. From a technical standpoint, “Big E” is easily the highlight of We Make History Now, although the album is full of moments that will intrigue more than just the casual listener.

As a whole, Landing on the Moon presents us an unprecedented tight sound. This may seem logical, considering that that band is made up of, as they describe it, “a set of siblings, a pair of spouses, and two friends that are like brothers to the rest.” Considering that We Make History Now is the band’s first official album released, they come across as seasoned veterans of the music scene with outstanding chemistry. This also presents what might be their biggest flaw, which is the absence of one band-defining vocalist. Megan and Oliver Morgan share the vocal duties almost equally, alternating between the individual spotlight and duets. Here, Megan Morgan appears to be the stronger of the two vocalists. She portrays more confidence and a sarcastic/sinister undertone that allows you to feel the emotion underneath her beautiful melodies. By no means are Oliver’s vocals lackluster, they just pale slightly in comparison. However, as the listener will find, the band’s ability to choose the right moment for Oliver’s voice, Megan’s voice, and harmonizing is exceptional and thus, a potential problem within the band is turned into a strength.

This is not a coming of age album for Landing on the Moon. It will not define our era of music, and it most likely won’t define their career either. However, We Make History Now is a standout effort that will undoubtedly help Landing on the Moon make a name for themselves. And as the analogy goes, they might not have “landed on the moon” quite yet, but we definitely have lift-off.
- sputnikmusic.com

The wagering was hot and heavy at last night’s MAHA showcase at The Waiting Room – a winner-take-all battle-of-the-bands cage match to determine who will play the MAHA Festival’s second stage. With his ongoing support from a certain Omaha World-Herald music writer, I put all my money down on Tim Wildsmith to get the most “votes.” But after I got to the show at around 10, I began to have second thoughts. Midwest Dilemma had a nice-sized crowd listening to their set, and I remembered hearing somewhere that it was Justin Lamoureux’s birthday that night. Add to that the fact that there must have been nine musicians on stage with Justin — if each one brought nine friends, that would equate to, well… a lot of votes, from a crowd of around 225. Others I talked to thought that the close-out band, Matt Cox, would draw all the last-minute voters. My personal faves — Landing on the Moon and Honey & Darling — went on at 8 and 9 p.m. — way too early to make a dent in the voting bloc.

So imagine my surprise when they announced that Landing on the Moon — the band I reviewed in my column a week ago — got the most votes. They’ll be joining Round One winner, Betsy Wells, on the second stage, along with whomever gets the most votes at the upcoming OEAA showcase July 16 and 17 in Benson. - lazy-i.com

The wagering was hot and heavy at last night’s MAHA showcase at The Waiting Room – a winner-take-all battle-of-the-bands cage match to determine who will play the MAHA Festival’s second stage. With his ongoing support from a certain Omaha World-Herald music writer, I put all my money down on Tim Wildsmith to get the most “votes.” But after I got to the show at around 10, I began to have second thoughts. Midwest Dilemma had a nice-sized crowd listening to their set, and I remembered hearing somewhere that it was Justin Lamoureux’s birthday that night. Add to that the fact that there must have been nine musicians on stage with Justin — if each one brought nine friends, that would equate to, well… a lot of votes, from a crowd of around 225. Others I talked to thought that the close-out band, Matt Cox, would draw all the last-minute voters. My personal faves — Landing on the Moon and Honey & Darling — went on at 8 and 9 p.m. — way too early to make a dent in the voting bloc.

So imagine my surprise when they announced that Landing on the Moon — the band I reviewed in my column a week ago — got the most votes. They’ll be joining Round One winner, Betsy Wells, on the second stage, along with whomever gets the most votes at the upcoming OEAA showcase July 16 and 17 in Benson. - lazy-i.com

After some apparently close voting, Landing On The Moon was selected as band No. 4 to play on the Maha Music Festival's local band Kum & Go stage.

They'll join Satchel Grande, The Mynabirds, Betsy Wells and a player to be named later.

I didn't vote for a band. If I would have, I don't think I could have chosen anyway. I've stated before that the five performers from last night (Honey & Darling, Landing On The Moon, Tim Wildsmith, Matt Cox Band and Midwest Dilemma) could easily just be the Maha local stage lineup. Five of my favorite artists in town, in fact.

Anyway, Landing On The Moon's Oliver Morgan (also of Little Brazil) talked awhile back about the band's latest album, "We Make History Now." He talked about being a diverse band and making records that stand out among other artists.

“We don’t go out of our way to make this next song different from the (others), but at the same time, there’s a presence of mind that we want to be versatile," he said.

The group had a CD release show for the record back in October, but I received a release from Young Love Records saying "We Make History Now" will be released on Aug. 10. I guess it's a re-release?
- rockcandyomaha.blogspot.com

After some apparently close voting, Landing On The Moon was selected as band No. 4 to play on the Maha Music Festival's local band Kum & Go stage.

They'll join Satchel Grande, The Mynabirds, Betsy Wells and a player to be named later.

I didn't vote for a band. If I would have, I don't think I could have chosen anyway. I've stated before that the five performers from last night (Honey & Darling, Landing On The Moon, Tim Wildsmith, Matt Cox Band and Midwest Dilemma) could easily just be the Maha local stage lineup. Five of my favorite artists in town, in fact.

Anyway, Landing On The Moon's Oliver Morgan (also of Little Brazil) talked awhile back about the band's latest album, "We Make History Now." He talked about being a diverse band and making records that stand out among other artists.

“We don’t go out of our way to make this next song different from the (others), but at the same time, there’s a presence of mind that we want to be versatile," he said.

The group had a CD release show for the record back in October, but I received a release from Young Love Records saying "We Make History Now" will be released on Aug. 10. I guess it's a re-release?
- rockcandyomaha.blogspot.com

Saying that Omaha-based group Landing On The Moon is a "family band" tends to conjure up images of things like The Partridge Family. Matching outfits and lame choreography. But one listen to them quickly dispels the notion of any cheesiness.
Not quite convinced? Proof can be found this Saturday at Hermann’s Bank Bar, 113 1/2 Schiller St., where Landing On The Moon will perform beginning at 8 p.m.
“It feels really good to be active,” said drummer Oliver Morgan, who spoke while traversing Northern Missouri in a van crammed with instruments and bandmates.
Indeed, this will be Landing On The Moon’s first tour in four years. And with their latest album being released last October, the quintet is nothing if not ready to show their stuff.
“It’s been years of hard, slow, attentive progress,” Morgan, adding, “When we get together and write, it feels a lot like weaving a musical tapestry.”
The band’s sound is largely driven by piano melodies and three-part harmonies, while still remaining true to a classic five-piece setup. Morgan mentioned that at an earlier time in the group’s history, their influences were much more retro—he pointed out the Beach Boys in particular—eventually leading to their name.
“We had that kind of 60s feel, so we basically were brainstorming—‘What happened in the 1960s?’” he said. “Well, we landed on the moon.”
Despite not quite filling the traditional “family band” mold, the bond between the group is certainly strengthened due to its close-knit nature. Morgan’s wife, Megan, is another third of the vocals along with tackling keyboards, with her brother, Eric Harris, on bass. Guitarist/fellow vocalist John Klemmensen and guitarist Matt Carroll are “considered part of the family.”
That tightly-wound net of connections might lead to heightened conflicts within the band, but Morgan reported that nothing could be further from the trute. In fact, live performances are able to change immediately, thanks to the members simply reading each other’s facial expressions.
“The songs are often still evolving when they’re played onstage,” Morgan said.
Forming within the Omaha music scene, an area currently defining itself with a distinctive indie rock sound, has also been beneficial for Landing On The Moon’s shifting influences.
"It's an outstanding music town," Morgan said enthusiastically. "I think it's growing more of a community within itself, but still allowing for certain little pockets of different sounds."
Morgan also mentioned that certain songs throughout the six year recording process between their original self-titled EP and October’s *We Make History Now* can be traced back to specific influences at various times.
“They’re kind of like mile markers,” he compared.
That said, he emphasized that the soul of their music—that which comes “straight from the hearts we wear on our sleeves,” as Morgan put it—is always unchanged.
Saturday night’s gig is longer than Landing On The Moon is typically used to, and solo sets from various members will also be performed, as a way to lead in to the band’s official set.
“We don’t want to scare people away,” Morgan said. After all, as he finished: “The party is us.”
- Hermann News

Saying that Omaha-based group Landing On The Moon is a "family band" tends to conjure up images of things like The Partridge Family. Matching outfits and lame choreography. But one listen to them quickly dispels the notion of any cheesiness.
Not quite convinced? Proof can be found this Saturday at Hermann’s Bank Bar, 113 1/2 Schiller St., where Landing On The Moon will perform beginning at 8 p.m.
“It feels really good to be active,” said drummer Oliver Morgan, who spoke while traversing Northern Missouri in a van crammed with instruments and bandmates.
Indeed, this will be Landing On The Moon’s first tour in four years. And with their latest album being released last October, the quintet is nothing if not ready to show their stuff.
“It’s been years of hard, slow, attentive progress,” Morgan, adding, “When we get together and write, it feels a lot like weaving a musical tapestry.”
The band’s sound is largely driven by piano melodies and three-part harmonies, while still remaining true to a classic five-piece setup. Morgan mentioned that at an earlier time in the group’s history, their influences were much more retro—he pointed out the Beach Boys in particular—eventually leading to their name.
“We had that kind of 60s feel, so we basically were brainstorming—‘What happened in the 1960s?’” he said. “Well, we landed on the moon.”
Despite not quite filling the traditional “family band” mold, the bond between the group is certainly strengthened due to its close-knit nature. Morgan’s wife, Megan, is another third of the vocals along with tackling keyboards, with her brother, Eric Harris, on bass. Guitarist/fellow vocalist John Klemmensen and guitarist Matt Carroll are “considered part of the family.”
That tightly-wound net of connections might lead to heightened conflicts within the band, but Morgan reported that nothing could be further from the trute. In fact, live performances are able to change immediately, thanks to the members simply reading each other’s facial expressions.
“The songs are often still evolving when they’re played onstage,” Morgan said.
Forming within the Omaha music scene, an area currently defining itself with a distinctive indie rock sound, has also been beneficial for Landing On The Moon’s shifting influences.
"It's an outstanding music town," Morgan said enthusiastically. "I think it's growing more of a community within itself, but still allowing for certain little pockets of different sounds."
Morgan also mentioned that certain songs throughout the six year recording process between their original self-titled EP and October’s *We Make History Now* can be traced back to specific influences at various times.
“They’re kind of like mile markers,” he compared.
That said, he emphasized that the soul of their music—that which comes “straight from the hearts we wear on our sleeves,” as Morgan put it—is always unchanged.
Saturday night’s gig is longer than Landing On The Moon is typically used to, and solo sets from various members will also be performed, as a way to lead in to the band’s official set.
“We don’t want to scare people away,” Morgan said. After all, as he finished: “The party is us.”
- Hermann News

WE MAKE HISTORY NOW-(YOUNG LOVE)-John Klemmensen’s vocals paint the first impression. I’m thinking, “Much too bleaty-goat/Adam Duritz.” But that only lasts for about four bars – then the clickity-clackity drum/guitar/bass kicks in, Klemmensen’s line resolutions start reminding me of Captain Beefheart, there are these interesting little rivulets of dissonance in the guitars, and I’m drawn in by the honesty: (“And it was there—there—I was a little late/I tried and I tried to make it okay,” and “I can’t hesitate – that’s what I always do.”) The song’s about awakening to the fragility of life and love, and by the time it’s escalated into an urgent plea, the delivery seems quite apt. From there, this almost-a-musical (as in the kind with acting weaving between song-and-dance numbers) format just gets better. Klemmensen trades vocal leads with keyboardist, Megan L. Morgan, who has one of the purest, least-affected voices I’ve heard in contemporary music. So it doesn’t matter so much that second track, “Hit The Road,” is relatively undistinguished; there’s a narrative of sorts going on here. LOTM muses on the fragility of romantic relationships, and the earth’s environment and future, in a way that’s fresh and engaging. The verses on the third track, “October,” presented again by Morgan, are a lovely magnet. Yes, songs like “Big E” will appeal mostly to lovers of mid-tempo emo - it’s good mid-tempo emo!. Standouts include the sophisticated dynamics of “Where Have We Gone?” which I would love to hear on the radio (okay, I’m an idealist), “October,” the classic Cardigans feel of “Letter,” and the gorgeous shimmer of “Holding Back.” The sincerity and earnestness with which these guys approach music-making is disarming: Is everyone in Omaha like this? www.youngloverecords.com MARY LEARY

- daggerzine.com

WE MAKE HISTORY NOW-(YOUNG LOVE)-John Klemmensen’s vocals paint the first impression. I’m thinking, “Much too bleaty-goat/Adam Duritz.” But that only lasts for about four bars – then the clickity-clackity drum/guitar/bass kicks in, Klemmensen’s line resolutions start reminding me of Captain Beefheart, there are these interesting little rivulets of dissonance in the guitars, and I’m drawn in by the honesty: (“And it was there—there—I was a little late/I tried and I tried to make it okay,” and “I can’t hesitate – that’s what I always do.”) The song’s about awakening to the fragility of life and love, and by the time it’s escalated into an urgent plea, the delivery seems quite apt. From there, this almost-a-musical (as in the kind with acting weaving between song-and-dance numbers) format just gets better. Klemmensen trades vocal leads with keyboardist, Megan L. Morgan, who has one of the purest, least-affected voices I’ve heard in contemporary music. So it doesn’t matter so much that second track, “Hit The Road,” is relatively undistinguished; there’s a narrative of sorts going on here. LOTM muses on the fragility of romantic relationships, and the earth’s environment and future, in a way that’s fresh and engaging. The verses on the third track, “October,” presented again by Morgan, are a lovely magnet. Yes, songs like “Big E” will appeal mostly to lovers of mid-tempo emo - it’s good mid-tempo emo!. Standouts include the sophisticated dynamics of “Where Have We Gone?” which I would love to hear on the radio (okay, I’m an idealist), “October,” the classic Cardigans feel of “Letter,” and the gorgeous shimmer of “Holding Back.” The sincerity and earnestness with which these guys approach music-making is disarming: Is everyone in Omaha like this? www.youngloverecords.com MARY LEARY

- daggerzine.com

We dig the sound of Nebraska’s Landing On The Moon, who have released their debut album, We Make History Now, recently through the Young Love Records label, also home to popular indie artists Quitzow and Setting Sun.
- lostateminor.com

We dig the sound of Nebraska’s Landing On The Moon, who have released their debut album, We Make History Now, recently through the Young Love Records label, also home to popular indie artists Quitzow and Setting Sun.
- lostateminor.com

Let’s say you’re from Omaha, let’s say that you list your influences among Sunny Day Real Estate and At the Drive In, then let’s say your drummer is in one of my favorite bands called Little Brazil, and then let’s say a trusted musical source says to me “you might like this” and hands me your CD. Landing on the Moon already has my attention, but they’ve also got some big expectations to live up to - kill the suspense, this band does not disappoint. With their upcoming release We Make History Now the band is honest, talented, adventurous, sometimes fun and other times hopelessly serious, well worth a listen.

That old emo influence is in guitar players; nice scales, riffs, and dynamics pair with an intricate rhythm section that supports the female lead, then the male lead, and then the killer three part harmonies that the band will become known for. This band can no doubt find a solid place with the likes of other national acts drawing from some of my favorite bands Midwestern and nationally. Think Cursive style instruments, Megan plays keys and writes lyrics a little bit like Jenny Lewis, and the boys sing like they’ve got Omaha on the brain (a nice way of saying country). 

I love the way that these guys write songs. They’ve got dueling guitar and piano parts in and out of the record that would be great listening if that was all they had. That drummer from Little Brazil shows off some very cool drums from song to song with fills across the rims, nice snare work, and good hard kicks that might remind you of some much heavier influences. The words are very personal and honest throughout whether boy fronted or girl fronted and I promise they won’t leave you with that “eeeww why don’t they just let her/him sing all the time” feeling. The middle of the album stands out for me; track 6, "Where Have We Gone" showcases some great playing and a great “be real with us now” lyric, the very next track, "Bleeding Hearts" has a Rilo Kiley with better guitar players sound, and then "Letter" slows the album down while holding onto the same great writing and performing found on the rest of the album.
- womensradio.com

Let’s say you’re from Omaha, let’s say that you list your influences among Sunny Day Real Estate and At the Drive In, then let’s say your drummer is in one of my favorite bands called Little Brazil, and then let’s say a trusted musical source says to me “you might like this” and hands me your CD. Landing on the Moon already has my attention, but they’ve also got some big expectations to live up to - kill the suspense, this band does not disappoint. With their upcoming release We Make History Now the band is honest, talented, adventurous, sometimes fun and other times hopelessly serious, well worth a listen.

That old emo influence is in guitar players; nice scales, riffs, and dynamics pair with an intricate rhythm section that supports the female lead, then the male lead, and then the killer three part harmonies that the band will become known for. This band can no doubt find a solid place with the likes of other national acts drawing from some of my favorite bands Midwestern and nationally. Think Cursive style instruments, Megan plays keys and writes lyrics a little bit like Jenny Lewis, and the boys sing like they’ve got Omaha on the brain (a nice way of saying country). 

I love the way that these guys write songs. They’ve got dueling guitar and piano parts in and out of the record that would be great listening if that was all they had. That drummer from Little Brazil shows off some very cool drums from song to song with fills across the rims, nice snare work, and good hard kicks that might remind you of some much heavier influences. The words are very personal and honest throughout whether boy fronted or girl fronted and I promise they won’t leave you with that “eeeww why don’t they just let her/him sing all the time” feeling. The middle of the album stands out for me; track 6, "Where Have We Gone" showcases some great playing and a great “be real with us now” lyric, the very next track, "Bleeding Hearts" has a Rilo Kiley with better guitar players sound, and then "Letter" slows the album down while holding onto the same great writing and performing found on the rest of the album.
- womensradio.com

Omaha's Landing On The Moon has just released a new single, "She Wants," off its debut full-length, We Make History Now. First available back in October via Young Love Records, We Make History Now arrived four years after the band's EP. This latest single is "a relationship song that's basically a metaphor about keeping a band together," according to drummer Oliver Morgan. "In a relationship, you ultimately grow to need that other person and the same goes with a band."

Coming from an average working class background, Landing On The Moon has worked its way up from the very bottom. The band’s slightly melancholic sound has gained it a reputation that has high profile performers like the Fray and Vampire Weekend asking them to accompany them on tour. Landing On The Moon has also worked with Cursive, Say Anything and Portugal.The Man.

Track Listing for We Make History Now:
01. Time Is Gone
02. Hit The Road
03. October
04. Big E
05. Where Have We Gone?
06. Bleeding Hearts
07. Letter
08. You Know Me
09. She Wants
10. Holding Back

www.myspace.com/landingonthemoon
- cmj.com

Omaha's Landing On The Moon has just released a new single, "She Wants," off its debut full-length, We Make History Now. First available back in October via Young Love Records, We Make History Now arrived four years after the band's EP. This latest single is "a relationship song that's basically a metaphor about keeping a band together," according to drummer Oliver Morgan. "In a relationship, you ultimately grow to need that other person and the same goes with a band."

Coming from an average working class background, Landing On The Moon has worked its way up from the very bottom. The band’s slightly melancholic sound has gained it a reputation that has high profile performers like the Fray and Vampire Weekend asking them to accompany them on tour. Landing On The Moon has also worked with Cursive, Say Anything and Portugal.The Man.

Track Listing for We Make History Now:
01. Time Is Gone
02. Hit The Road
03. October
04. Big E
05. Where Have We Gone?
06. Bleeding Hearts
07. Letter
08. You Know Me
09. She Wants
10. Holding Back

www.myspace.com/landingonthemoon
- cmj.com

I gotta admit… I don’t know much about Omaha aside from the television show Mutual of Omaha’s Wild Kingdom. That’s a sincere shame because I’m sure I’m missing a LOT about Omaha. Recently I discovered something else about Omaha that I dig, and that’s the band Landing On The Moon.

Comprised of “a set of siblings, a pair of spouses, and two friends that are like brothers to the rest” (taken from their bio), Landing On The Moon‘s first full-length album, We Make History Now, comes four years after their debut EP. According to an article on Lazy-i.com, We Make History Now is a collection of songs dating back to 2005 and was recorded at Grubb Inc. Recording and Production Studios, a place that “was aligned more with alt-radio bands like their pals 311 than the indie-music scene that Omaha has become known for.”

That’s an interesting pairing, but you gotta have friction to make fire.

Guitarist/vocalist John Klemmensen explains that (Grubb) really tried to turn up the pop with us, which is most likely the reason why the album has such a crisp sound for what is considered to be an indie-band. After spending some time with the record, I have to say that I like this quality… for some reason, I rarely attach “indie” with the word “crisp.” It’s refreshing to hear when I do come across it. I tend to agree with Tim McMahan (from the Lazy-i.com article) when he writes that this “clean, almost streamlined sound… might raise an eyebrow with FM radio programmers who long ago gave up on (or for that matter, never even considered) indie music.” I’ve been listening to nothing but radio in my car, and I can’t seem to find a station that focuses primarily on the indie-music scene. Some may argue that there is no more “indie,” but that’s another discussion for another day.

One album highlight for me is the track “She Wants”, which comes at the end of the album but is so worth the wait. I totally dig the piano, the melody, the guitar solo at 3:10, the three-part harmony, the double kick at 0:09, and especially the lyrics. Drummer Oliver Morgan describes “She Wants” as “a relationship song that’s basically a metaphor about keeping a band together. In a relationship, you ultimately grow to need that other person and the same goes with a band.” (from CMJ.com) I’m guessing these choice lines further reveal the idea:

Hold on, hold on baby please don’t go
Don’t leave me, let’s rock and roll
I could never go solo
It wouldn’t last - thefrontloader.com

I gotta admit… I don’t know much about Omaha aside from the television show Mutual of Omaha’s Wild Kingdom. That’s a sincere shame because I’m sure I’m missing a LOT about Omaha. Recently I discovered something else about Omaha that I dig, and that’s the band Landing On The Moon.

Comprised of “a set of siblings, a pair of spouses, and two friends that are like brothers to the rest” (taken from their bio), Landing On The Moon‘s first full-length album, We Make History Now, comes four years after their debut EP. According to an article on Lazy-i.com, We Make History Now is a collection of songs dating back to 2005 and was recorded at Grubb Inc. Recording and Production Studios, a place that “was aligned more with alt-radio bands like their pals 311 than the indie-music scene that Omaha has become known for.”

That’s an interesting pairing, but you gotta have friction to make fire.

Guitarist/vocalist John Klemmensen explains that (Grubb) really tried to turn up the pop with us, which is most likely the reason why the album has such a crisp sound for what is considered to be an indie-band. After spending some time with the record, I have to say that I like this quality… for some reason, I rarely attach “indie” with the word “crisp.” It’s refreshing to hear when I do come across it. I tend to agree with Tim McMahan (from the Lazy-i.com article) when he writes that this “clean, almost streamlined sound… might raise an eyebrow with FM radio programmers who long ago gave up on (or for that matter, never even considered) indie music.” I’ve been listening to nothing but radio in my car, and I can’t seem to find a station that focuses primarily on the indie-music scene. Some may argue that there is no more “indie,” but that’s another discussion for another day.

One album highlight for me is the track “She Wants”, which comes at the end of the album but is so worth the wait. I totally dig the piano, the melody, the guitar solo at 3:10, the three-part harmony, the double kick at 0:09, and especially the lyrics. Drummer Oliver Morgan describes “She Wants” as “a relationship song that’s basically a metaphor about keeping a band together. In a relationship, you ultimately grow to need that other person and the same goes with a band.” (from CMJ.com) I’m guessing these choice lines further reveal the idea:

Hold on, hold on baby please don’t go
Don’t leave me, let’s rock and roll
I could never go solo
It wouldn’t last - thefrontloader.com

Having just returned from a few weeks of touring, Landing on the Moon was as tight as you’d expect. In fact, last night’s performance was the best I’ve ever seen them. I guess that road does something to a band — it changes them. Or maybe it was just the booze because they’ve never felt more cohesive. And for the first time I was able to put my finger on who they remind me of. In fact, LotM has a style that is distinctly its own, especially compared to the rest of the Omaha scene. No one does quite what they do — a fusion of indie and throw-back radio rock with a groove that heralds all the way back to the ’70s. I’m going to get skewed for this, but I was reminded of late-’70s Journey. Someone else in the audience referenced Mates of State, which also was a stretch, albeit a more indie (and realistic, and probably less offensive) stretch.

The real difference last night came from folks who I hadn’t noticed before. I point directly toward bassist Eric Harris, who has never sounded more up front and important to the band’s sound. His deep groove swing is the secret weapon that is (now) impossible to ignore. So is frontman John Klemmensen. I use the “frontman” moniker loosely, since there are three lead vocalists in the band, with Megan Morgan taking a more prominent role especially on the new material. Still, it’s Klemmensen who stood out — part of the reason is that O’Leaver’s PA simply isn’t kind to female vocalists, who have a way of getting buried in the mix. No single member of the band is ever the center of attention, however. The most “out there” player is drummer Oliver Morgan, who doggedly looks for any and every opportunity to decorate his percussion with fill upon fill upon fill upon roll upon fill. There is nothing unfancy about his drumming style, which will not — cannot — be ignored.

The band announced last night that their latest album, We Make History Now, will be released by Young Love Records Aug.10 (with a Young Love showcase scheduled for The Waiting Room Aug. 12). With a label, distribution and publicity behind them, who knows where they’ll land. - lazy-i.com

Having just returned from a few weeks of touring, Landing on the Moon was as tight as you’d expect. In fact, last night’s performance was the best I’ve ever seen them. I guess that road does something to a band — it changes them. Or maybe it was just the booze because they’ve never felt more cohesive. And for the first time I was able to put my finger on who they remind me of. In fact, LotM has a style that is distinctly its own, especially compared to the rest of the Omaha scene. No one does quite what they do — a fusion of indie and throw-back radio rock with a groove that heralds all the way back to the ’70s. I’m going to get skewed for this, but I was reminded of late-’70s Journey. Someone else in the audience referenced Mates of State, which also was a stretch, albeit a more indie (and realistic, and probably less offensive) stretch.

The real difference last night came from folks who I hadn’t noticed before. I point directly toward bassist Eric Harris, who has never sounded more up front and important to the band’s sound. His deep groove swing is the secret weapon that is (now) impossible to ignore. So is frontman John Klemmensen. I use the “frontman” moniker loosely, since there are three lead vocalists in the band, with Megan Morgan taking a more prominent role especially on the new material. Still, it’s Klemmensen who stood out — part of the reason is that O’Leaver’s PA simply isn’t kind to female vocalists, who have a way of getting buried in the mix. No single member of the band is ever the center of attention, however. The most “out there” player is drummer Oliver Morgan, who doggedly looks for any and every opportunity to decorate his percussion with fill upon fill upon fill upon roll upon fill. There is nothing unfancy about his drumming style, which will not — cannot — be ignored.

The band announced last night that their latest album, We Make History Now, will be released by Young Love Records Aug.10 (with a Young Love showcase scheduled for The Waiting Room Aug. 12). With a label, distribution and publicity behind them, who knows where they’ll land. - lazy-i.com

"When it comes to identity, Landing on the Moon has it in spades -- three vocalists including an intense woman keyboard player, a dynamic over-the-top drummer and a bigger-than-life guitarist who wears his soul on his sleeve. They take chances with styles and dynamics, merging sprawling, poignant album rock with modern, quirky, post-rock tendencies. Whether you like them or not (and certainly those looking for standard-ish jangle-pop indie probably won't), you have to admire their bravado in playing a style of music -- with honesty and determination -- that no other bands are even attempting around here."

-Tim McMahan, - www.lazy-i.com ,
The Omaha Reader, Omaha City Weekly - lazy-i.com

"When it comes to identity, Landing on the Moon has it in spades -- three vocalists including an intense woman keyboard player, a dynamic over-the-top drummer and a bigger-than-life guitarist who wears his soul on his sleeve. They take chances with styles and dynamics, merging sprawling, poignant album rock with modern, quirky, post-rock tendencies. Whether you like them or not (and certainly those looking for standard-ish jangle-pop indie probably won't), you have to admire their bravado in playing a style of music -- with honesty and determination -- that no other bands are even attempting around here."

-Tim McMahan, - www.lazy-i.com ,
The Omaha Reader, Omaha City Weekly - lazy-i.com