Elizabeth Moen, the Iowa-born musician, drops her self-produced EP titled “For Arthur” on July 28. This EP is a heartfelt tribute to the legendary musician Arthur Russell, who, just like Moen, hailed from a small town in Iowa. Russell made a name for himself in the avant-garde, folk, and electronic music scenes of San Francisco and New York City during the ’70s and ’80s. Moen brings Russell’s songs warmly into 2023 with her own spin on his timeless sound through covering some of her favorite songs of his.
“For Arthur” EP boasts covers of some of Russell’s classics, like “Nobody Wants a Lonely Heart,” and it’s a collaborative masterpiece. Moen teamed up with some seriously talented musicians, including Macie Stewart, Sima Cunningham, Spencer Tweedy, Sofia Jensen, Emily Neale, Chet Zenor, and Nick Levine.
The connection between Moen and Russell goes deep, and it’s more than just a shared Iowa heritage. She found herself drawn to Russell’s music after stumbling upon one of his tracks in a playlist. From there, she went down the Arthur Russell rabbit hole and discovered a kindred spirit in his avant-garde approach to bending genres—a trait you can easily spot in Moen’s own work.
But here’s the kicker: this EP isn’t just about making great music. It has a special purpose that warms the heart. Moen is donating all the Bandcamp proceeds from “For Arthur” to One Iowa, an awesome nonprofit organization that fights for LGBTQ rights and supports the LGBTQ community in the state.
Moen’s musical journey has been quite the ride. Her 2022 album “Wherever You Aren’t” garnered praise from critics and fans alike, and it’s easy to see why. Her captivating vocals and indie rock, indie folk, and garage soul style have earned her comparisons to powerhouses like Brittany Howard, Stevie Nicks and is often referenced as the female Hozier. Given these influences, it is not a surprise that being invited to open for Hozier during his pop-up tour last spring and then getting to open for Brittany Howard soon are definite bucket list moments.
While Moen’s passion for music shines bright, she’s not immune to the pressures of the studio. Recording can be a bit of a perfectionist’s nightmare, but when recording “For Arthur,” she took a different approach. Instead of getting caught up in nitpicking, she focused on the fun and let loose, limiting herself to a set number of takes and edits. Moen reflects, “sometimes we get so focused on making it perfect that we forget what we do is so fun.”
Her love for live performances shines through, and she’s been doing her best to capture that energy in the studio for this EP. Moen wants her music to be a connection—a way to feel something and relate to others.
So, get ready to immerse yourself in “For Arthur,” a heartfelt and meaningful release that not only celebrates Arthur Russell’s legacy but also supports the LGBTQ community in Iowa. Mark your calendar for July 28 and let Elizabeth Moen’s beautiful renditions of Russell’s timeless songs whisk you away on a musical journey full of love and friendship.
“For Arthur” EP was mixed by the awesome Palisades Studios and mastered by the talented Nick Broste. These folks know their stuff, and it shows in the EP’s sweet sound!
“I Couldn’t Say It to Your Face” is available now on major streaming platforms like Spotify and Apple Music.
Kimberly Shires is a producer and owner of Hear Me Roar Studio. She is a multi-instrumentalist and songwriter who is passionate about empowering women to express themselves through music. Outside of music she enjoys hiking, biking and snuggling with her dog. Kimberly has called the DMV home her whole life.
When D.C. venues were ready to reopen after COVID-19, indie pop duo GLOSSER was ready to perform. The two, Riley Fanning and Corbin Sheehan, formed the band pre-COVID out of a shared aesthetic vision and passion for music storytelling.
Their first album *DOWNER* was released in January 2023, however they have decided to release a [__deluxe version__](https://open.spotify.com/album/0KLORhtj3ohV4FtbdjoKu5?si=iNZX9fiZSm2M6V8pRdBkow) exactly one year later containing four new tracks – two remixes, a reimagined song, and a cover – that they are hoping will give it a second life and allow them to continue performing around the area.
The band explains that they have spent many shows opening for touring bands that traveled through D.C. “We made music and then venues started to open again,” Sheehan says. Rather than having the “typical grungy” D.C. band experience, they uniquely went straight to club shows.