MORR MUSIC - Forced Exposure

$55.00 IN STOCK

Art book with 100 pictures, 84 pages. 24x24cm, hardcover in linen weave with metallic embossed printing. Kranky veteran Benoît Pioulard (Thomas Meluch) has created his first full-length for Morr Music (MORR 162CD/LP). The release is complemented by the book presented here. A linen book of Polaroid SX70 photographs from more than two years of environmental explorations. The music on Sylva and its 84-page visual companion bear the beauty and strange shapes of nature: desert rock formations and colorful leaves, restless waters and peculiar plants. Meluch's dreamy ambient drones and saturated lo-fi pop embody the impressionist sensation of his visual aesthetic -- with this collection sound and vision are merged into an affectionate study of the organic. No audio is included with this book.

$15.50 IN STOCK

Kranky veteran Benoît Pioulard (Thomas Meluch) has created his first full-length for Morr Music. The music on Sylva bears the beauty and strange shapes of nature: desert rock formations and colorful leaves, restless waters and peculiar plants. Meluch's dreamy ambient drones and saturated lo-fi pop embody the impressionist sensation of his visual aesthetic -- with this collection sound and vision are merged into an affectionate study of the organic. Sylva is the result of one of the most productive periods in Meluch's life. During a nine-month hiatus from his day job he embarked on daily recording sessions amid trips to the American southwest, Montana, Hawai'i, and his native Michigan. Back home in Seattle, he developed his recordings and wrote the album's two mesmerizing vocal tracks, which call to mind early Fleetwood Mac or peak pop-era Brian Eno. "Keep" is based on a tiny flower called Draba mentioned in the book A Sand County Almanac (1949), about which "no one ever wrote a poem"; considering all the little plants he had inadvertently crushed throughout a lifetime of hikes, he wrote it for them. The piano-driven "Meristem" features a striking violin contribution from Freya Creech (London, UK), and is dedicated to Meluch's brother, who died suddenly two years ago. Sylva's other collaboration is the soaring vocal arrangement created for "Raze II" by Pulitzer Prize-winning composer/singer Caroline Shaw (New York, USA), a former touring mate who resided at the Banff Centre (Alberta, CAN) during the same period in which Meluch completed his recordings there. The album's ten songs are divided into four movements: Solum (soil/solitude), Ignis (fire), Coeptum (seed), and Vireo (thrive), with each group embodying a slightly different environ. When paring down the photo collection Meluch abided three guidelines: no man-made objects, no redundant textures, and a color palette as diverse as his vintage camera allowed. Follows two albums by his band-project Orcas (with Rafael Anton Irisarri).

$19.50 IN STOCK

LP version. Includes download code. Kranky veteran Benoît Pioulard (Thomas Meluch) has created his first full-length for Morr Music. The music on Sylva bears the beauty and strange shapes of nature: desert rock formations and colorful leaves, restless waters and peculiar plants. Meluch's dreamy ambient drones and saturated lo-fi pop embody the impressionist sensation of his visual aesthetic -- with this collection sound and vision are merged into an affectionate study of the organic. Sylva is the result of one of the most productive periods in Meluch's life. During a nine-month hiatus from his day job he embarked on daily recording sessions amid trips to the American southwest, Montana, Hawai'i, and his native Michigan. Back home in Seattle, he developed his recordings and wrote the album's two mesmerizing vocal tracks, which call to mind early Fleetwood Mac or peak pop-era Brian Eno. "Keep" is based on a tiny flower called Draba mentioned in the book A Sand County Almanac (1949), about which "no one ever wrote a poem"; considering all the little plants he had inadvertently crushed throughout a lifetime of hikes, he wrote it for them. The piano-driven "Meristem" features a striking violin contribution from Freya Creech (London, UK), and is dedicated to Meluch's brother, who died suddenly two years ago. Sylva's other collaboration is the soaring vocal arrangement created for "Raze II" by Pulitzer Prize-winning composer/singer Caroline Shaw (New York, USA), a former touring mate who resided at the Banff Centre (Alberta, CAN) during the same period in which Meluch completed his recordings there. The album's ten songs are divided into four movements: Solum (soil/solitude), Ignis (fire), Coeptum (seed), and Vireo (thrive), with each group embodying a slightly different environ. When paring down the photo collection Meluch abided three guidelines: no man-made objects, no redundant textures, and a color palette as diverse as his vintage camera allowed. Follows two albums by his band-project Orcas (with Rafael Anton Irisarri).

$15.50 IN STOCK

After his collaboration with Sóley and múm's Örvar Smárason for the 2018 album Team Dreams (MORR 150CD/LP), Sad Party sees Sindri Sigfússon take things into his own hands again. As a result of frantic and mostly improvised jam sessions, the nine pop songs are as bittersweet as the title suggests, meandering between Sin Fang's trademark knack for catchy melodies, rich sonic textures, and advanced musical experimentalism. Psychedelic and melancholic at once, it brings Sigfússon's many different musical facets into a consistent and irresistible flow. Sad Party was recorded by Sigfússon alone over the course of three weeks in an old wooden studio in downtown Reykjavík before it was, like so many Icelandic venues in recent times, closed for good thanks to rising rents. "It had a wonderful view, something most music studios do not have," says Sigfússon of the place, where he had spent so much time recording, drinking, and playing table tennis in the past years. Now he locked himself in for three weeks to throw a very last Sad Party. Aiming for the music to be "not too fast and not too slow, not too loud and not too quiet", the songwriter followed a radical stream of consciousness approach for the lyrics. Starting with lush and warm drones, the opener "Planet Arfth" sets the mood for Sin Fang's fifth solo record just perfectly. This is goodbye, the wordless vocals in the background seem to say -- but we're going to make the best of it, counters the slow hip-hop groove that takes center stage midway through the track. Soon giving way for slow and funky dream pop sounds ("Hollow"), Sad Party slowly picks up speed with intricately built rhythms ("No Summer"), piano-driven power pop ("Smother") and even IDM-influenced electronica ("Goldenboy Is Sleeping"), before the second half makes the melancholy that comes with a farewell audible. The bitter follows the sweet. After a wonderfully psychedelic gem ("Happiness"), a hazy mid-tempo rock ballad ("Never Who I Wanna Be") and a shimmering downbeat piece that highlights Sigfússon's abilities as a producer of experimental electronic music ("Cloudjuice"), "Constellation" serves as the perfect coda to the album. With its underwater lo-fi aesthetics and its psychoactive qualities, it ends the album with just the right amount of anthemic ambiguity. Here's to old places, new beginnings and, most of all, Sin Fang!

$20.00 IN STOCK

LP version. Includes printed inner sleeve; includes download code. After his collaboration with Sóley and múm's Örvar Smárason for the 2018 album Team Dreams (MORR 150CD/LP), Sad Party sees Sindri Sigfússon take things into his own hands again. As a result of frantic and mostly improvised jam sessions, the nine pop songs are as bittersweet as the title suggests, meandering between Sin Fang's trademark knack for catchy melodies, rich sonic textures, and advanced musical experimentalism. Psychedelic and melancholic at once, it brings Sigfússon's many different musical facets into a consistent and irresistible flow. Sad Party was recorded by Sigfússon alone over the course of three weeks in an old wooden studio in downtown Reykjavík before it was, like so many Icelandic venues in recent times, closed for good thanks to rising rents. "It had a wonderful view, something most music studios do not have," says Sigfússon of the place, where he had spent so much time recording, drinking, and playing table tennis in the past years. Now he locked himself in for three weeks to throw a very last Sad Party. Aiming for the music to be "not too fast and not too slow, not too loud and not too quiet", the songwriter followed a radical stream of consciousness approach for the lyrics. Starting with lush and warm drones, the opener "Planet Arfth" sets the mood for Sin Fang's fifth solo record just perfectly. This is goodbye, the wordless vocals in the background seem to say -- but we're going to make the best of it, counters the slow hip-hop groove that takes center stage midway through the track. Soon giving way for slow and funky dream pop sounds ("Hollow"), Sad Party slowly picks up speed with intricately built rhythms ("No Summer"), piano-driven power pop ("Smother") and even IDM-influenced electronica ("Goldenboy Is Sleeping"), before the second half makes the melancholy that comes with a farewell audible. The bitter follows the sweet. After a wonderfully psychedelic gem ("Happiness"), a hazy mid-tempo rock ballad ("Never Who I Wanna Be") and a shimmering downbeat piece that highlights Sigfússon's abilities as a producer of experimental electronic music ("Cloudjuice"), "Constellation" serves as the perfect coda to the album. With its underwater lo-fi aesthetics and its psychoactive qualities, it ends the album with just the right amount of anthemic ambiguity. Here's to old places, new beginnings and, most of all, Sin Fang!

$15.50 IN STOCK

Antony Ryan and Robin Saville return with their ninth studio album as ISAN, Lamenting Machine. Three years in the making, Lamenting Machine is the deepest and most satisfying chapter yet in the ongoing musical conversation between these brilliant musicians. Subtle yet mesmerizing melodies evoking long forgotten memories, calmly throbbing bass figurines pulsing gently along -- all paying tribute to free-floating rhythms and their eternal noises. ISAN has always been an intimate and personal take on electronic music. Produced both in Denmark and the UK in their respective studios, each of the eight tracks symbolize a sea of blossoms carefully crafted and tended to, bringing color and hope to today's fragile and volatile world. And while there is definitely a lot worth lamenting about, ISAN's machine of the same name is an explorational celebration of their own musical past, once more bringing to the surface the project's essence of aural delight. Listening to ISAN requires time, but it is time well invested. While sounding exquisitely lighthearted from the outside, a closer inspection reveals a richly orchestrated and multi-layered musical riddle, mimicking a hedge maze of gargantuan scale and complexity, with each tone and each rhythmic pattern to be dissected, analyzed and understood individually in order to find the way out. ISAN's music has always had this quality, yet reflecting on their own past more consciously, the music on the new album redefines this approach in a more precise and gratifying way than ever before. While wholeheartedly shimmering and drenched in beauty, in order to fully appreciate the whole scale of ISAN, it is key to bravely engage with the underlying vagueness and fuzziness lingering in the tracks. Letting each piece of gear be true to itself, accepting its flaws as part of its unique personality, and turning these frailties into a starting point of inter-circuitry communication, ISAN has been at the forefront of humanizing technology and eliminating the dystopian men machine debate, clearing the table for a better future. This approach actually requires time in the studio as well: circuits need time to warm up, get to know each other, understand the energy flowing through the cables connecting them, figuring out what to do and what they really want. This process is not so much about giving up control, but rather to moderate a constant exchange of ideas.

$19.50 IN STOCK

LP version. Antony Ryan and Robin Saville return with their ninth studio album as ISAN, Lamenting Machine. Three years in the making, Lamenting Machine is the deepest and most satisfying chapter yet in the ongoing musical conversation between these brilliant musicians. Subtle yet mesmerizing melodies evoking long forgotten memories, calmly throbbing bass figurines pulsing gently along -- all paying tribute to free-floating rhythms and their eternal noises. ISAN has always been an intimate and personal take on electronic music. Produced both in Denmark and the UK in their respective studios, each of the eight tracks symbolize a sea of blossoms carefully crafted and tended to, bringing color and hope to today's fragile and volatile world. And while there is definitely a lot worth lamenting about, ISAN's machine of the same name is an explorational celebration of their own musical past, once more bringing to the surface the project's essence of aural delight. Listening to ISAN requires time, but it is time well invested. While sounding exquisitely lighthearted from the outside, a closer inspection reveals a richly orchestrated and multi-layered musical riddle, mimicking a hedge maze of gargantuan scale and complexity, with each tone and each rhythmic pattern to be dissected, analyzed and understood individually in order to find the way out. ISAN's music has always had this quality, yet reflecting on their own past more consciously, the music on the new album redefines this approach in a more precise and gratifying way than ever before. While wholeheartedly shimmering and drenched in beauty, in order to fully appreciate the whole scale of ISAN, it is key to bravely engage with the underlying vagueness and fuzziness lingering in the tracks. Letting each piece of gear be true to itself, accepting its flaws as part of its unique personality, and turning these frailties into a starting point of inter-circuitry communication, ISAN has been at the forefront of humanizing technology and eliminating the dystopian men machine debate, clearing the table for a better future. This approach actually requires time in the studio as well: circuits need time to warm up, get to know each other, understand the energy flowing through the cables connecting them, figuring out what to do and what they really want. This process is not so much about giving up control, but rather to moderate a constant exchange of ideas.

$33.00 IN STOCK

Repressed; triple LP version. Gatefold sleeve. Morr Music present a 20th Anniversary Edition of múm's Yesterday Was Dramatic - Today Is OK. In 1999, on December 23rd to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album Yesterday Was Dramatic - Today Is OK. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn't pay attention to some kids selling records on Reykjavík's high street. Thankfully, those ten tracks weren't overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: a note-for-note representation of "Smell Memory" by Kronos Quartet (with additional drums by múm's Samuli Kosminen), a gentle reinterpretation of "Random Summer" by acclaimed pianist and composer Hauschka and an otherworldly new version of "Ballad Of The Broken String" recorded by label mate Sóley. In 1999, electronic music was in full bloom. Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random, and forgettable. New ideas require new mindsets after all. With Yesterday Was Dramatic - Today Is OK, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes, and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Combining drill-and-bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock's boominess, folk music's soulful brittleness, and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize. Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. Includes four remixes produced in the early 2000s by Ruxpin, Bix, µ-Ziq, and Biogen.

$17.50 IN STOCK

Morr Music present a 20th Anniversary Edition of múm's Yesterday Was Dramatic - Today Is OK. In 1999, on December 23rd to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album Yesterday Was Dramatic - Today Is OK. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn't pay attention to some kids selling records on Reykjavík's high street. Thankfully, those ten tracks weren't overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: a note-for-note representation of "Smell Memory" by Kronos Quartet (with additional drums by múm's Samuli Kosminen), a gentle reinterpretation of "Random Summer" by acclaimed pianist and composer Hauschka and an otherworldly new version of "Ballad Of The Broken String" recorded by label mate Sóley. In 1999, electronic music was in full bloom. Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random, and forgettable. New ideas require new mindsets after all. With Yesterday Was Dramatic - Today Is OK, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes, and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Combining drill-and-bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock's boominess, folk music's soulful brittleness, and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize. Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. Includes four remixes produced in the early 2000s by Ruxpin, Bix, µ-Ziq, and Biogen.

$19.50 IN STOCK

LP version. Includes download code. Mikko Singh has been living different musical lives from the start. With Cloud Formations, his third album under the Haleiwa moniker, Singh eschews the guitar-dominated sound of his first two LPs for lush but grainy textures. Inspired by bands and songwriters like Animal Collective, Real Estate, and the late Jay Reatard, Cloud Formations is a hopeful record whose experimental approach to rock music calls to mind the experimental pop of Morr Music label mates like Sequoyah Tiger or even Stereolab's motorik-driven post-rock. It's a fusion of fuzzed-out sounds, washed-out sentiments and far-out songwriting -- perhaps the only shoegaze record you can actually take along to the beach. Ever since he first picked up the classical guitar at age nine, Singh has pursued many different ambitions. Having moved on from skate punk and hardcore bands to instrumental indie rock, Singh even released an album of subtle piano compositions on the 1631 label alongside artists like Dustin O'Halloran and Hauschka. As an album dedicated to new beginnings, Cloud Formations proves to be the perfect synthesis for all of these ambitions. 0After the release 2015's Palm Trees of the Subarctic, Singh began experimenting with his collection of vintage and analog synthesizers, exploring different ways of using the guitar and putting an emphasis on his bass playing when composing. While some of the songs on Cloud Formations were initially conceived in 2015, he recorded and produced the album between 2017 and 2018 in what he calls a "long and continuous process". Apart from some drum recordings (provided by his long-time friend Johan Nordlund of the Swedish hardcore band This Gift Is A Curse), Singh maintained full creative control of the album, tweaking the nine songs in his own Stockholm studio. He paid more attention than before to the subtleties of sound design and their emotive qualities; the result is a dense, at times psychedelic and intimate album, abundant with passion and optimism, despite its name, which may at first indicate the opposite. Singh wants to express hope on Cloud Formations, an approach that becomes tangible from the very first seconds of the anthemic opener "HKI -97". Between the fuzzy ambience of "Ka'a'awa Surfin'", the title track's hypnagogic mid-tempo grooves, to the relentless drive of "Swell" or "Crossroads", and the eerie final track "Cold Concrete", this album is to be understood as a celebration of different musical lives becoming one.

$15.50 IN STOCK

Mikko Singh has been living different musical lives from the start. With Cloud Formations, his third album under the Haleiwa moniker, Singh eschews the guitar-dominated sound of his first two LPs for lush but grainy textures. Inspired by bands and songwriters like Animal Collective, Real Estate, and the late Jay Reatard, Cloud Formations is a hopeful record whose experimental approach to rock music calls to mind the experimental pop of Morr Music label mates like Sequoyah Tiger or even Stereolab's motorik-driven post-rock. It's a fusion of fuzzed-out sounds, washed-out sentiments and far-out songwriting -- perhaps the only shoegaze record you can actually take along to the beach. Ever since he first picked up the classical guitar at age nine, Singh has pursued many different ambitions. Having moved on from skate punk and hardcore bands to instrumental indie rock, Singh even released an album of subtle piano compositions on the 1631 label alongside artists like Dustin O'Halloran and Hauschka. As an album dedicated to new beginnings, Cloud Formations proves to be the perfect synthesis for all of these ambitions. 0After the release 2015's Palm Trees of the Subarctic, Singh began experimenting with his collection of vintage and analog synthesizers, exploring different ways of using the guitar and putting an emphasis on his bass playing when composing. While some of the songs on Cloud Formations were initially conceived in 2015, he recorded and produced the album between 2017 and 2018 in what he calls a "long and continuous process". Apart from some drum recordings (provided by his long-time friend Johan Nordlund of the Swedish hardcore band This Gift Is A Curse), Singh maintained full creative control of the album, tweaking the nine songs in his own Stockholm studio. He paid more attention than before to the subtleties of sound design and their emotive qualities; the result is a dense, at times psychedelic and intimate album, abundant with passion and optimism, despite its name, which may at first indicate the opposite. Singh wants to express hope on Cloud Formations, an approach that becomes tangible from the very first seconds of the anthemic opener "HKI -97". Between the fuzzy ambience of "Ka'a'awa Surfin'", the title track's hypnagogic mid-tempo grooves, to the relentless drive of "Swell" or "Crossroads", and the eerie final track "Cold Concrete", this album is to be understood as a celebration of different musical lives becoming one.

$15.50 IN STOCK

Creating a composition means making decisions. During times in which you virtually have all sounds that have ever been recorded at your availability, composers must choose between infinite possibilities. The duo Ellicist does not perceive this contemporary ocean of possibilities as too much choice, they are swimming in it. Ellicist are weaving thick textures from the most diverse tones and rhythms. Their tracks are placing synthetic buzzing, the croaking of frogs, low frequency billowing and humming, flutes, the droning of flies, and the whole spectrum of the digital creation of sound next to one another. This intensity of sensations is not supposed to overstrain the listener, it invites them to follow a process. This music does not have a strict structure; instead, it is breathing openness at every moment. Ellicist are incessantly oscillating between abstraction and elements of pop music. Melodies are being hinted at, and sounds are being piled up, at times tirelessly. Fragments of etheric choirs or field recordings are unfolding their associative power. The melodious Ink is a track full of touching intimacy and is in constant motion until it eventually pauses to create a silent ocean of sound. "Passage People" is permeated by a groove of throbbing synths. The tapestries of sound of "Ponds & Graves", on the other hand, are creating the foundation for expressive percussions. "Ihnen Steg" is almost a dub track. During the opener Hennepin and its follower "Lilei" sounds of palpable corporeity are being combined with ones that are hardly tangible. Point Defects has an incredible spatiality. At one point you might believe that you are able to precisely localize the sounds in an imaginary system of coordinates. And then the whole systemization crumbles. It is an astonishing production: you can almost taste the sounds. Ellicist are Thomas Chousos and Florian Zimmer. Chousos studied composition in Greece before moving to Berlin, where he is working as a producer and sound engineer under the moniker Tadklimp. Florian Zimmer has been playing with several groups; Besides Ellicist he is a member of Saroos and Driftmachine.

$19.50 IN STOCK

LP version. Includes download code. Creating a composition means making decisions. During times in which you virtually have all sounds that have ever been recorded at your availability, composers must choose between infinite possibilities. The duo Ellicist does not perceive this contemporary ocean of possibilities as too much choice, they are swimming in it. Ellicist are weaving thick textures from the most diverse tones and rhythms. Their tracks are placing synthetic buzzing, the croaking of frogs, low frequency billowing and humming, flutes, the droning of flies, and the whole spectrum of the digital creation of sound next to one another. This intensity of sensations is not supposed to overstrain the listener, it invites them to follow a process. This music does not have a strict structure; instead, it is breathing openness at every moment. Ellicist are incessantly oscillating between abstraction and elements of pop music. Melodies are being hinted at, and sounds are being piled up, at times tirelessly. Fragments of etheric choirs or field recordings are unfolding their associative power. The melodious Ink is a track full of touching intimacy and is in constant motion until it eventually pauses to create a silent ocean of sound. "Passage People" is permeated by a groove of throbbing synths. The tapestries of sound of "Ponds & Graves", on the other hand, are creating the foundation for expressive percussions. "Ihnen Steg" is almost a dub track. During the opener Hennepin and its follower "Lilei" sounds of palpable corporeity are being combined with ones that are hardly tangible. Point Defects has an incredible spatiality. At one point you might believe that you are able to precisely localize the sounds in an imaginary system of coordinates. And then the whole systemization crumbles. It is an astonishing production: you can almost taste the sounds. Ellicist are Thomas Chousos and Florian Zimmer. Chousos studied composition in Greece before moving to Berlin, where he is working as a producer and sound engineer under the moniker Tadklimp. Florian Zimmer has been playing with several groups; Besides Ellicist he is a member of Saroos and Driftmachine.

$18.00 IN STOCK

With Being Water Lali Puna refine their distinctive take on pop and electronics. Although singer Valerie Trebeljahr wrote "Being Water" mostly by herself, backed by Christian Heiß and Christoph Brandner, she rejects the idea of authorship. "Who's That Genius" pays tribute to Virginia Woolf and Madonna. The title track turns this Bruce Lee quote upside-down: "Be formless, shapeless, like water". The lyrics for "For Only Love" were written after watching the documentary The War Show (2016). The free-floating piano chords and tricky rhythm patterns of "Beatx" mark a new territory for Lali Puna. Features a remix by Dave DK.

$22.00 IN STOCK

Double LP version. Includes printed inner sleeve and download code. Plus, the new album from Danish electronic trio System, is a collaborative effort with piano magician Nils Frahm. Frahm's purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer, and Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and to translate their distinctive electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically as they are touching. Ranging from the mellow bliss of the title track to echoes of '90s and 2000s electronica and ambient sequences with mesmerizing movements and sounds, the blending of piano and digital tones and noises into emotive pieces recalls the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results. Knak met Frahm at one of his concerts in Copenhagen; staying in touch, they exchanged thoughts and ideas. Two years later, Remmer was also introduced to Frahm; serious ideas for a collaboration formed. As Frahm was a fan of System's self-titled debut album (2002), their talks centered around dub and minimalism, elements that constitute most of System's music. This in mind, System began producing sketches and brought them to Frahm´s studio in Berlin, where they recorded ten hours of him playing to their drafts. Back in Copenhagen, they decided to change direction. "Nils had told us about his fascination with our debut album, so we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction." They started building new pieces from Frahm's recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) relied on steady beats or rhythmic material, so the productions of Plus, with their acoustic and melodic elements, ambient layers and cinematic moods, sees them move into new areas. The trio thus avoided copying what they had done years ago, having built a reputation as Denmark's originators within electronic music in the '90s. Plus is a triumphant example of collaborative experimentation and may be the dawn of a new era for System. CD version comes in digipak.

$15.50 IN STOCK

Plus, the new album from Danish electronic trio System, is a collaborative effort with piano magician Nils Frahm. Frahm's purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer, and Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and to translate their distinctive electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically as they are touching. Ranging from the mellow bliss of the title track to echoes of '90s and 2000s electronica and ambient sequences with mesmerizing movements and sounds, the blending of piano and digital tones and noises into emotive pieces recalls the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results. Knak met Frahm at one of his concerts in Copenhagen; staying in touch, they exchanged thoughts and ideas. Two years later, Remmer was also introduced to Frahm; serious ideas for a collaboration formed. As Frahm was a fan of System's self-titled debut album (2002), their talks centered around dub and minimalism, elements that constitute most of System's music. This in mind, System began producing sketches and brought them to Frahm´s studio in Berlin, where they recorded ten hours of him playing to their drafts. Back in Copenhagen, they decided to change direction. "Nils had told us about his fascination with our debut album, so we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction." They started building new pieces from Frahm's recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) relied on steady beats or rhythmic material, so the productions of Plus, with their acoustic and melodic elements, ambient layers and cinematic moods, sees them move into new areas. The trio thus avoided copying what they had done years ago, having built a reputation as Denmark's originators within electronic music in the '90s. Plus is a triumphant example of collaborative experimentation and may be the dawn of a new era for System. CD version comes in digipak.

$20.00 IN STOCK

LP version. Deluxe relief varnish artwork; includes printed inner sleeve; includes download code. Flowing and brimming with life, Anohito, the second album by indie supergroup Spirit Fest, has come ashore. The group is comprised of Tokyo-based duo Tenniscoats (Saya and Takashi Ueno), Markus Acher (The Notwist, Rayon), Cico Beck (Aloa Input, The Notwist), and Mat Fowler (Jam Money, Bons). Crossing boundaries geographically and musically, each member contributes rich experiences in collaboration. But experience can be a tricky friend to navigate, often leaving musicians trapped in their comfort zones. However, Spirit Fest embodies the idea of perpetual motion. Ever-changing and keeping their music alive, the singular souls of Spirit Fest have been drawn together a second time. In the wake of releasing their first record, the group embarked on a European tour where they found their own distinct character and collective voice. From this shared experience, new songs and recordings followed, encompassing Anohito (Japanese for "that person"). The first two album tracks were constructed on a day off in London. The triumphant opener, "Anohito (Till The Gate)", an extraordinary minor key title track, sets the tone of the record; Saya's tender voice and the shimmering, delayed guitars and zither reach delicate and pastoral heights. The loopy folktronica of "Fête De Départ" continues to preserve the pace of the album perfectly. Spirit Fest recorded the remainder of Anohito at Markus's home in Munich. Only Mat operated from London, contributing additional recordings in the form of a tape exchange. These begin with the collective lament of "Yuri's Zahn", followed by Markus's evocative banjo pop "Look At The Colours" and the twisted Raymond Scott/Dick Hyman-ish wonk of "Ueno The Future". The album draws to a close with "Takeda No Komoriuta" ("Lullaby Of Takeda"), a beautiful cover of a dark Japanese traditional, followed by the instrumental track "Bye Bye" -- a perfect collage to close and document this rich and playful collaboration by highly imaginative and ego-free musicians.

$15.50 IN STOCK

Flowing and brimming with life, Anohito, the second album by indie supergroup Spirit Fest, has come ashore. The group is comprised of Tokyo-based duo Tenniscoats (Saya and Takashi Ueno), Markus Acher (The Notwist, Rayon), Cico Beck (Aloa Input, The Notwist), and Mat Fowler (Jam Money, Bons). Crossing boundaries geographically and musically, each member contributes rich experiences in collaboration. But experience can be a tricky friend to navigate, often leaving musicians trapped in their comfort zones. However, Spirit Fest embodies the idea of perpetual motion. Ever-changing and keeping their music alive, the singular souls of Spirit Fest have been drawn together a second time. In the wake of releasing their first record, the group embarked on a European tour where they found their own distinct character and collective voice. From this shared experience, new songs and recordings followed, encompassing Anohito (Japanese for "that person"). The first two album tracks were constructed on a day off in London. The triumphant opener, "Anohito (Till The Gate)", an extraordinary minor key title track, sets the tone of the record; Saya's tender voice and the shimmering, delayed guitars and zither reach delicate and pastoral heights. The loopy folktronica of "Fête De Départ" continues to preserve the pace of the album perfectly. Spirit Fest recorded the remainder of Anohito at Markus's home in Munich. Only Mat operated from London, contributing additional recordings in the form of a tape exchange. These begin with the collective lament of "Yuri's Zahn", followed by Markus's evocative banjo pop "Look At The Colours" and the twisted Raymond Scott/Dick Hyman-ish wonk of "Ueno The Future". The album draws to a close with "Takeda No Komoriuta" ("Lullaby Of Takeda"), a beautiful cover of a dark Japanese traditional, followed by the instrumental track "Bye Bye" -- a perfect collage to close and document this rich and playful collaboration by highly imaginative and ego-free musicians. CD version comes in a digipak.

$14.00 IN STOCK

For White Sun Live. Part I: Strings, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity. To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured. The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There was no objective selection criteria: "I chose the songs that called for strings, songs that I was interested in continuing their story", Jófríður says. "Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement". Indeed, the arrangements establish a fresh perspective on the selected songs (except for "My Work" -- as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics -- the absence of beats gives her vocal performance new possibilities. The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: "I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments", Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP -- as she emphasizes herself -- is a collective work of those involved: "Trusting your collaborators is the truest gift".

$19.50 IN STOCK

12" version. Includes download code. For White Sun Live. Part I: Strings, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity. To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured. The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There was no objective selection criteria: "I chose the songs that called for strings, songs that I was interested in continuing their story", Jófríður says. "Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement". Indeed, the arrangements establish a fresh perspective on the selected songs (except for "My Work" -- as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics -- the absence of beats gives her vocal performance new possibilities. The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: "I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments", Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP -- as she emphasizes herself -- is a collective work of those involved: "Trusting your collaborators is the truest gift".

$19.50 IN STOCK

LP version. Includes printed inner sleeve; Includes download code. Being a key figure in Iceland's music scene over the past 20 years with his bands múm and FM Belfast among others, the time has come for Örvar Smárason to release his debut solo album. Light Is Liquid is made up of eight precious electronic pop songs that show him both as a gifted songwriter and producer. It's an update of the sound that made múm one of the most revered Nordic acts since the 2000s, but it's also slightly reminiscent of Boards of Canada's pastoral beats or even the transcendental tracks of Arca and Björk. A heap of experience and a sure-footed feeling for style constitutes this record, but at the same time it feels like a young and fresh love affair with music. Besides having released roughly 20 albums with his musical projects, exploring and blurring the borders of electronica, folk, indie rock and ambient, Örvar is a poet and a writer. On Light Is Liquid, maybe more than ever before, this talent translates into his songwriting. Lyrics and song titles oscillate between concrete objects and daydreams, reference dark regions on faraway planets, scientific phenomena and unsolved mysteries. What is light made of, what does it do? If you think about it, you start drifting off to strange and amazing places. Light Is Liquid provides the fitting soundtrack. The songs have been written over the past few years, most of them before Örvar's other recent project started at the beginning of 2016: Together with Sóley and Sin Fang he recorded one song each month in only a few days time, compiling them all into another wonderful album (MORR 150CD/LP, 2018). Sóley also sings backing on a few songs on Light Is Liquid, while Sin Fang mixed the whole album. Other guests include Sillus, whose magical voice accompanies Örvar on three tracks, and JFDR, another Icelandic talent lending her vocals to "Tiny Moon". Their voices are eerie and evocative, wrapping themselves around smoothly futuristic tracks. In "Duality Paradox", a robotic voice is stuttering over heartfelt melodies. There are lots of moments on this record that feel like a kind of android pop music. But then songs like "Flesh & Dreams" assure you that it's all very human after all. Light Is Liquid has all the qualities of a truly enthusiastic debut.

$15.50 IN STOCK

Being a key figure in Iceland's music scene over the past 20 years with his bands múm and FM Belfast among others, the time has come for Örvar Smárason to release his debut solo album. Light Is Liquid is made up of eight precious electronic pop songs that show him both as a gifted songwriter and producer. It's an update of the sound that made múm one of the most revered Nordic acts since the 2000s, but it's also slightly reminiscent of Boards of Canada's pastoral beats or even the transcendental tracks of Arca and Björk. A heap of experience and a sure-footed feeling for style constitutes this record, but at the same time it feels like a young and fresh love affair with music. Besides having released roughly 20 albums with his musical projects, exploring and blurring the borders of electronica, folk, indie rock and ambient, Örvar is a poet and a writer. On Light Is Liquid, maybe more than ever before, this talent translates into his songwriting. Lyrics and song titles oscillate between concrete objects and daydreams, reference dark regions on faraway planets, scientific phenomena and unsolved mysteries. What is light made of, what does it do? If you think about it, you start drifting off to strange and amazing places. Light Is Liquid provides the fitting soundtrack. The songs have been written over the past few years, most of them before Örvar's other recent project started at the beginning of 2016: Together with Sóley and Sin Fang he recorded one song each month in only a few days time, compiling them all into another wonderful album (MORR 150CD/LP, 2018). Sóley also sings backing on a few songs on Light Is Liquid, while Sin Fang mixed the whole album. Other guests include Sillus, whose magical voice accompanies Örvar on three tracks, and JFDR, another Icelandic talent lending her vocals to "Tiny Moon". Their voices are eerie and evocative, wrapping themselves around smoothly futuristic tracks. In "Duality Paradox", a robotic voice is stuttering over heartfelt melodies. There are lots of moments on this record that feel like a kind of android pop music. But then songs like "Flesh & Dreams" assure you that it's all very human after all. Light Is Liquid has all the qualities of a truly enthusiastic debut.

$16.50 IN STOCK

Returning to Berlin for the third installment of their acclaimed live-score performance to accompany silent film classic Menschen am Sonntag (1930), múm present a 10" vinyl comprising material that was recorded during previous installments of this extraordinary film/music event. Arriving with shimmering sounds and ambient layers, "Cards" eventually bursts into a mix of live drums and massive beams of electronica. Whereas "Evaporate" includes great piano miniatures, "Cycle Boats" boasts a melody that perfectly reflects the leisurely coming and going. "My Claws" is a wildly dense, unstoppable force of nature, that's catchy like an '80s pop tune.

$25.00 IN STOCK

Double LP version. Housed in a gatefold sleeve; Includes download code. B. Fleischmann, the longest-tenured solo artist on Morr Music, returns with indie-spirited, electronica-enhanced moments of bliss on his new album Stop Making Fans. Recorded with a little help from friends including vocalist Gloria Amesbauer, Markus Schneider (guitars), and Valentin Duit (drums), it's a two-part reflection on artistic self-reliance vs. fame-seeking conformism, another deeply personal, utterly idiosyncratic album by the indie-tronic trailblazer. "Stop it and just DO", Sol LeWitt once wrote to sculptor Eva Hesse -- and listening to B. Fleischmann's new album, he indeed does both: He slams on the brakes and stops looking at what anyone else is doing, stops pleasing, stops being restrained, and at the same time he floors the accelerator and delivers the kind of high-paced work that bursts at the seams with polyphonic energy and an urgency unique to his music. Arriving with interlocked bleeps, the hustle and bustle of an invisible grand station's atrium ("Here Comes The A Train"), Fleischmann's trademark vocals serve as a gentle reminder to resist the siren calls, to not trust the latest hype. Energy levels remain high throughout the first part of the album -- whether it's the mumbling, personal stocktaking of what feels like an underwater hymn ("There Is A Head"), the robotic, immodest pop tune "It's Not Enough" (featuring Gloria Amesbauer) or the return to light-speed mode on "Wakey Wakey" -- the first half of this album is indeed all about letting off some steam. After the collected canter of seven-minute instrumental "Hand In", the multi-instrumentalist and his studio mates kick off the slower-paced part two with the title song: it's a sonic tapestry that's impossible to compare or pigeonhole when he changes the rhythm in mid-track and turns yet another corner when you thought there was a fixed pattern. Guest singer Gloria Amesbauer returns for soothing tunes "The Pros Of Your Children" and "Hello Hello". B. Fleischmann guides us to his almost jazz-tinged "Little Toy", and leaves behind an "Endless Stunner" -- another typically dense and shape-shifting stream of harmonies. Stop Making Fans, Fleischmann's his first full-length release in five years, is another totally unique, and thus potentially fan-base enhancing release.

$15.50 IN STOCK

B. Fleischmann, the longest-tenured solo artist on Morr Music, returns with indie-spirited, electronica-enhanced moments of bliss on his new album Stop Making Fans. Recorded with a little help from friends including vocalist Gloria Amesbauer, Markus Schneider (guitars), and Valentin Duit (drums), it's a two-part reflection on artistic self-reliance vs. fame-seeking conformism, another deeply personal, utterly idiosyncratic album by the indie-tronic trailblazer. "Stop it and just DO", Sol LeWitt once wrote to sculptor Eva Hesse -- and listening to B. Fleischmann's new album, he indeed does both: He slams on the brakes and stops looking at what anyone else is doing, stops pleasing, stops being restrained, and at the same time he floors the accelerator and delivers the kind of high-paced work that bursts at the seams with polyphonic energy and an urgency unique to his music. Arriving with interlocked bleeps, the hustle and bustle of an invisible grand station's atrium ("Here Comes The A Train"), Fleischmann's trademark vocals serve as a gentle reminder to resist the siren calls, to not trust the latest hype. Energy levels remain high throughout the first part of the album -- whether it's the mumbling, personal stocktaking of what feels like an underwater hymn ("There Is A Head"), the robotic, immodest pop tune "It's Not Enough" (featuring Gloria Amesbauer) or the return to light-speed mode on "Wakey Wakey" -- the first half of this album is indeed all about letting off some steam. After the collected canter of seven-minute instrumental "Hand In", the multi-instrumentalist and his studio mates kick off the slower-paced part two with the title song: it's a sonic tapestry that's impossible to compare or pigeonhole when he changes the rhythm in mid-track and turns yet another corner when you thought there was a fixed pattern. Guest singer Gloria Amesbauer returns for soothing tunes "The Pros Of Your Children" and "Hello Hello". B. Fleischmann guides us to his almost jazz-tinged "Little Toy", and leaves behind an "Endless Stunner" -- another typically dense and shape-shifting stream of harmonies. Stop Making Fans, Fleischmann's his first full-length release in five years, is another totally unique, and thus potentially fan-base enhancing release.