That album was set to be made at Pachyderm Studios but had to be relocated when studio owner John Kuker sadly passed away on the eve of the recording dates. The band and Agnello had worked together previously on the band’s second album, 2016’s Pennied Days. These aren’t pandemic songs… more a bit of unfinished business that the pandemic allowed to be fulfilled. Synthesizers sweep, the pedal steel swoons, the high lonesome harmonica calls across a distance. “Fallacy Actually” showcases Night Moves further evolution as a band and as songwriters, still trading in massive pop hooks that somehow manage to convey a sense of yearning melancholy but with a sense of maturity and perspective in the arrangements that comes with time. “Fallacy Actually” and the batch of new songs that will follow were recorded at Pachyderm Studios outside of the band’s hometown with producer John Agnello (Kurt Vile, Alvvays, Dinosaur Jr.). I love the soft flute – makes me think of Canned Heat meets Motown meets The Spinners on acid.” The song went through a lot of changes, styles, and moods. I wanted it to have a NOVA, UFO abduction, backroom Estonian roller rink discotheque kind of vibe. The inevitable end of things, hatred versus acceptance, flawed thoughts, and what could have been. ![]() ![]() Singer John Pelant describes the track as, “A dense cosmic romp that deals with personal fears and letting go. Minneapolis-based quartet Night Moves return with the psychedelic new song “Fallacy Actually.” The first track in a series of new singles to be released incrementally over the next year, “Fallacy Actually” is a head-spinning swirl of layered synths, harmonica, and guitar and a fitting introduction to the band’s next chapter.
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