Tucked within the rugged landscape of Northern Ontario, Canada, Max Moon has been steadily carving out his own distinctive place within rap music, and his debut record is a testament to this. The Grand Howl, a reference to the collective noise of human emotion, is a blend of dusty, moody production, and free, contemplative rhyme schemes, with field recorded poetry and harmonic vocal segues. Max Moon may have previously been best known as a rapper/producer with horrorcore trio Magick Show, but his solo effort veers madly off in alternate directions.

In this interview spotlight, I chat with Max Moon about the new album, favorite songs, dream collabs, and more.

Full Q&A along with links and music below.

Let’s lay the foundation for the rest of our conversation. Who is Max Moon? What does he sound like?

I’m a rapper, producer, and musician. I don’t like to stick to one sound but as far as my rap style, some would say it’s abstract or poetry. There are some actual spoken word poetry pieces on my new record, The Grand Howl, but I just think of it as rap that really plays with language. I’m trying to evoke something but not giving you  a picture-perfect diagram. Making the listener do some of the work, which might be a bit demanding, but I hope rewarding. One blog wrote, “…this is music for listeners who lean in…”, and I agree, I’ve always been that kind of listener myself, and I’ve personally found it rewarding. 

As far as my production…with exceptions, I love finding sounds from analog sources. I might occasionally make something classic sounding, but for the most part I’m trying to do something new, with little bits of the classic elements within. But the record has a lot of different sounds, from some grimy ‘drumless’ beats, to some banging boom-trap, and beyond. 

Tell us more about your creative process? What comes first…an idea, the melody, the rhythm, the lyrics?

Well first I think comes an idea…or maybe some blend of a partially formed idea and multiple emotions. 

When I started writing rhymes, I would do what most people do: write some bars, then find someone who makes beats and put the lyrics to music. Especially at that time, there wasn’t a huge hip-hop scene in Sudbury, Ontario. The first beats I rapped on were made by my bros who I played in hardcore bands with, as a sort of side-quest. As I got more interested in making hip-hop, I started messing around with beats because I just didn’t know anyone who had any. Plus I had been listening to a lot of DJ Shadow and watched the documentary Scratch! – I was ready to make a new kind of noise. I had no idea what I was doing but I wanted to sample $#it! 

Then my process started to switch, as I got a bit more into beat making. I would work on a beat, more or less finish it, and then write bars for it. Sometimes I’d use pre-existing bits. 

Lately I’m often writing rhymes on the side while composing and editing the beat. I like this process. I think because it involves picking what’s right for the song, in the moment. One element doesn’t have to be designed to fit the other…when it’s working right it makes for something that feels really cohesive.

What’s up with this release? Any cool back-stories, bloopers, or notable inspirations? Or anything else worth mentioning?

The record is called The Grand Howl. It’s out now everywhere – on streaming and physically on special edition CD & tape, which include a bunch of extras. It’s my debut, solo record under this name. Most of the production is done by me, with some contributions from Juno nominated MPC master Fresh Kils, and Ukrainian rapper/producer Smuff Tha Quiz. I guess you could say it features poetry infused rhymes – I’m a fan of language and words and making collages of those that evoke something. It includes some poetry, sample and sung interludes throughout. I wanted to create a dynamic experience that wasn’t purely rapping all the time. The beats always have that dusty vinyl sound but the rhythms can vary from boom-bap to a bit trappy to ‘drumless’ and beyond. 

The album explores ab\ lot of the challenges myself and my people have been going through over the past little while. Occasional victories. Also there’s some I just play with words to define and illustrate my own distinctive imprint. The Grand Howl as a title refers to the collective sound of human emotion – like a big global choir, with all our howling and hollering rising into the sky. 

There are only a couple features on the record: Toronto mega-spitter Ultra Magnus on “Scrawlings” and backwoodz studioz duo ShrapKnel (Curly Castro & PremRock) on “DEAD END$”. I think I chose the right ones cuz I couldn’t be happier with the depth they added to this record. 

Most of the beats were started in the winter, in a remote cabin on Manitoulin Island in Northern Ontario. The following winter, I returned to the same place to record the bulk of the vocals. It was a full Bon Iver experience…maybe not what people picture when they think of rappers in the studio. For me it’s the best. I like being alone to try things out without feeling like I’m wasting anyone’s time or being ridiculous. 

What draws you to Hip Hop? When did you first find it?

The first rap record I remember hearing is either Kriss Kross’ “Jump” or House of Pain’s “Jump Around”. My cousin was a year older than me and lived downtown, while we lived out in the sticks. I remember being immediately drawn to the energy. He was way more tapped into urban life and hip-hop pop culture and he was always showing me this music that was exciting and a bit dangerous…a bit subversive. 

Years later I remember getting high with the same cousin and attempting to freestyle cypher in a camper trailer while on vacation. While it was hilarious, there were no clues that I was rapper material. 

In high school I played in a lot of punk & hardcore bands and was always the vocalist. I always put a lot of thought into the lyrics. It was a little frustrating sometimes, because with all the screaming, people would come up to me after the show and ask me what I was actually saying. One day we had band practice and I think someone didn’t show up so we ended up messing around trying to make a hip-hop beat instead. While it was no masterpiece, and for the other guys it was just a brief experiment, that process had me hooked. It wasn’t long before I was trying to make my own beats using Cooledit and then Fruityloops, Reason, and writing a lot more rap lyrics. I’ve been writing, recording and performing since about that time.

If you could collaborate with anyone – dead or alive, famous or unknown – who would it be and why?

Hmm that’s a tough one. For the most part I like to collaborate with people I have somewhat of a social connection or friendship with. So although there are so many amazing artists I respect, I wouldn’t wanna force it just to collab with a big name. Assuming there was this connection, I’d love to link up with R.A.P. Ferreira (also known as milo). I just find his style so free and expressive, and I can hear in my head how it would work. Maybe that’s a realistic goal. We probably have mutual homies somewhere. Who knows.

Not to be corny, and I’m sure some can relate, but what I’d love more than anything would be to collaborate with a homie of mine who’s no longer with us. Just to have a day to jam out. He jumps on the drum kit, I jump on the mic….whatever. Get stoned and do the dumb shit we used to do as kids. 

I know it’s hard…but favorite song (or artist) of all time? Or Top 3 if you can’t choose one…?

These are really tough exercises for me. I listen to a loooot of different music and what’s connecting with me at the time always changes. I’ll give you 3 songs that seem to always connect, throughout the years. 

Jimmy Cliff – Many Rivers to Cross – This song is so powerful…kind of has that hymn-like quality but is also extremely cathartic. “Many rivers to cross. And it’s only my will that keeps me alive. I’ve been licked, washed up for years. And I merely survive because of my pride”. Moves me every time I hear it. My dad had the soundtrack to The Harder They Come on vinyl and I would always spin that growing up. Loved the vibe, the stories, and it was an amazing introduction to reggae beyond Bob Marley. 

Aesop Rock – Big Bang – In high school someone put an Aesop Rock record on at a party. I think it was my first time taking acid. I had taken very little and others had taken quite a bit more. So basically everyone was high out their gourds, but I was mainly tripping off that Ace Rizzle. I was an instant fan and immediately needed to hear everything he’d released. Everything about it was unconventional – the bests, the abstract rhyme style, the meandering flows. But it was hard. For me, the unconventionalness of it all didn’t bring it further from its hip-hop roots. It was firmly planted in those roots, just growing a little differently than some of the other trees maybe. Ace has been such a consistent and dynamic artist all through his career – it’s inspiring. “Big Bang” was the favourite back then. 

The Jim Carroll Band – People Who Died. Everyone can relate to this one, cuz everyone knows people who died! It’s sort of simple in its approach lyrically, which is part of the beauty of its rawness & realness – i.e. here are some people I knew who died, I miss them, and here are their stories. Its rippin’ garage rock essence is so cathartic. When you’re into it, and you’re singing it, it feels good, not sad. Like you’re connecting with ’em again, or honouring them, every time you scream “DIED! DIED!”. 

Where’s the best place to connect with You?

My handle on social media platforms is @maxmoonunit. I might be most active on Instagram.

Links to all my socials, and music, videos, can be found at: https://linktr.ee/maxmoonunit

I appreciate Your time. Any last thoughts before signing off? 

Thanks for the interview. I guess I’ll just plug the upcoming beat tape from myself and my Northern bro Johnny Bizness – it’s all themed around radio in our region from the 70s-90s.