For most, Fletcher Moules is known as the Emmy-nominated director behind Netflix’s Entergalactic with Kid Cudi and the billion-view Clash of Clans cinematic universe. But before film, he was a musician first, fronting bands as a teenager in Australia, even sharing festival bills with Cut Copy. Now, with his new project The New Condition, Moules steps back into the music spotlight, fusing his cinematic instincts with the romantic shadows of late-‘80s synth and post-punk.
The latest single 'Maybe', lifted from The New Condition’s forthcoming debut album, is a hauntingly beautiful slice of synth pop rock that lingers between joy and longing. Built on nostalgic synth keys, crisp electric drums and Moules’ unfiltered vocal delivery, it’s a song two decades in the making, finally realised with the help of legendary mixer Mark Saunders (The Cure, Depeche Mode) and mastering engineer Matt Colton (Blur, Charli XCX).
So with the new single out now, we sat down with him to find out more about his origins and what has been inspiring him most over the years.
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What was the first instrument you fell in love with?
The piano. You can hear every song in it. I knew I wasn’t one for piano grades, so I asked my piano teacher to teach me every Billy Joel song, which we did over about 3 years. That opened up a wealth of chord progressions and melody ideas that fueled my initial songwriting. Soon after came synths and samplers, which I tried applying my Billy Joel knowledge to - for some “interesting” results.
What kind of music did you love when you were younger?
As a kid in Australia, it was hard to escape all those classic Aussie bands we all know, but I really found myself with my ears glued to UK music. From the Manchester scene to shoegaze and the UK Alternative dance groups of the 90s.
What was the first album you remember owning?
That I bought with my own money was Disintegration by The Cure. I think I paid my brother’s friend $20 for his CD. That was the turning point away from all the pop that had filled my ears so far. However, I already had a bunch of music passed on to me that I didn't actually pay but technically owned; Belinda Carilse, Starship and Wang Chung.
What is the one song you wished you could have written yourself?
I heard Paul McCartney say it’s "Just The Way You Are” by Billy Joel for him (awww). But for me it’s gotta be “‘Don’t Dream It’s Over’ by Crowded House. Neil Finn is a genius. That song is deceptively simple, but it feels eternal. The syncopation of the lyrics is pretty special and the melody just floats around my head. Neil Finn’s delivery, to this day, when he plays it live is pure magic.
Do you have any habits or rituals you go through when trying to write new music?
That depends on whether the song began as an instrumental or a lyrical idea. If I'm struggling for a top line hook I usually get the answer by riding my bike around Venice Beach listening to the instrumental (or just thinking about it!) I’m not sure what it is about a bike ride… it just seems to work. When a song is a fair way along in the production process and starting to sound pretty polished I always go back and play it on the piano just to see if it holds up in that most raw form. I don't want my songs to be relying on cool sounds or heavy production tricks only.
Who are your favourite artists you have found yourself listening to at the moment?
My Spotify is all over the place. Ha! “Newer” artists I’m playing are; New Dad, Bdrmm, Ora The Molecule, Nation of Language. But then I look at my recent plays and there’s JJ Cale, Soviet Soviet, Mew, The 1975, Polo & Pan, The Notwist, Kid Cudi…
If you could open a show for anyone in the world, who would it be?
Anyone in the world ‘right now’? Probably have to say Depeche Mode, I think fans would really get us. Though not sure we’d want to play venues that big! Geez. Can it be Depeche Mode at the Troubadour? Otherwise my second pick is Phoenix at Brixton Academy.
What do you find is the most rewarding part about being a musician?
For me, it’s the creative freedom. The whole reason I make music is because it exists outside of executives, notes, audience expectations, budgets, production schedules, ratings… all the things that come with my day job as a showrunner at Netflix working on a big IP. In that world, there are so many creative stakeholders. With music, it’s just me. It’s pure freedom to express whatever I want, exactly how I want. It’s therapy. If a song just happens to connect with someone else then that’s a bonus.
And what is the most frustrating part?
Really hoping that the above song you really like finds an audience, but doesn't.
And what is the best piece of advice you have received as a musician?
There’s a couple that really stay with me; Don't rely on buying new gear as a solution for a creative block. Sure new gear can be inspiring, but once you’ve got enough to make the sound you want that should be all you need. Secondly… don't hide the idea of the song in too many layers. It’s so easy with today's DAWs to just layer on up, but the more you do that the core idea is being buried or you're just doing it before the core idea is too weak. That’s why I love to keep testing songs on a piano throughout the production process to gut check myself that i’m not just over producing to hide a weakness.
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The New Condition's latest single 'Maybe' is out now. Check it out in the player below.