REVIEW

The debut album from Mongolian post-punk/dream pop band Teresa in the Moon. Formed in 2019 under the name Ivy In My Mind, the group initially leaned more directly into dream pop before rebranding as Teresa in the Moon in 2020 and shifting toward a distinctly ’80s-inflected blend of post-punk, dream pop, and new wave. The band currently operates as a four-piece, featuring guitar/vocals, bass/vocals, synths, and drums.

The origin of the band’s name adds an evocative layer to their identity. It references a well-known episode from the Apollo 17 mission, when commander Eugene Cernan wrote the initials “TDC” on the lunar surface—an abbreviation of his daughter’s name, Teresa Dawn Cernan. With no wind or atmosphere on the moon, the inscription is destined to remain untouched by erosion. It is easy to read Teresa in the Moon as an artistic gesture informed by this idea: music meant to endure, quietly but persistently, over time.

Titled “Amygdala”, the album takes its name from the part of the brain associated with emotion and memory, an apt reference for a record that thrives on contrasts. Dark post-punk frameworks intersect with lush, decadent dream pop textures, creating a soundscape where light and shadow continuously overlap. One of the album’s defining features is its dual-vocal approach. Guitarist and vocalist Ochir Munkhgerel delivers a low-register voice rooted in classic ’80s goth traditions, while bassist and vocalist Saran Batbileg counters with a delicate, whisper-like tone. The contrast between the two voices adds depth and emotional nuance throughout the record.

This interplay is particularly effective on tracks like #2 “Monochrome,” #4 “Ivy,” and #5 “About US,” where the twin vocals intertwine to striking effect. These songs encapsulate the band’s core aesthetic—a space where brightness and darkness, joy and melancholy, coexist without canceling each other out. While the shimmering arpeggios may recall familiar DIIV-adjacent territory, there is also a subtle sense of melodic phrasing that feels distinct, hinting at an Eastern sensibility beneath the surface.

Given that Mongolian music is often internationally associated with artists who foreground traditional elements, the emergence of a goth and dream pop crossover like Teresa in the Moon comes as a welcome surprise. “Amygdala” stands as a compelling entry in the broader post-punk and dream pop landscape, and it suggests that this band’s trajectory is well worth following as they continue to refine and expand their sound.