MORR MUSIC - Forced Exposure

$21.50 PREORDER RELEASE DATE: 9/3/2021

LP version. Includes download code. Jimmy Tamborello returns with a collection of ten pop-infused vocal hymns -- simultaneously perfect dancefloor fillers and lullabies. Away is the second of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus. While The Seas Trees See (MORR 178CD/LP) showcased Tamborello's more intricate and quiet side, Away embraces his love for pop music. A genre which like no other has been resonating the advancements of technology from the very beginning. Songwriting was sequenced and computerized on such a large scale that it would change the sonic aesthetics of the charts forever. Dntel is a musician who changed pop music forever -- and still works in this never-ending labor of love, both effortless and highly focused, constantly tweaking the universe of our musical perception. Whether beatless or uncompromisingly embracing the limelight of collective ecstasy with one of his most remembered tunes "(This Is) The Dream Of Evan And Chan", his almost forgotten anthem "Don't Get Your Hopes Up" or his work as James Figurine. Away features ten of these extravaganzas -- uniting his audience once more in hope and future-bound optimism. "I grew up with '80s techno-pop -- these influences always come through in my music," Jimmy writes from Los Angeles. For this album, though, "I was thinking more of '80s indie pop or labels like 4AD. It is a mix of those influences along with trying to figure out what elements of my own discography I still connect with. I wanted it to reflect old Dntel records as well as the techno-pop band Figurine I used to be in. I have always considered my music basically being techno-pop, but not referring to pop as popular music -- I just like pretty melodies. But with the Dntel moniker, I never had the ambition to produce music for a really big audience." It is exactly that looseness in approaching music which makes Tamborello's style of composing so unique. On Away he combines a healthy dose of distortion with the most-sticking melodies, vocals and bitter-sweet lyrics he ever came up with --performing all vocals himself, with the help of technology. On Away, Jimmy Tamborello finds the perfect way of marrying his unique musical personality with both the demands and possibilities of pop music.

$15.50 PREORDER RELEASE DATE: 9/3/2021

Jimmy Tamborello returns with a collection of ten pop-infused vocal hymns -- simultaneously perfect dancefloor fillers and lullabies. Away is the second of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus. While The Seas Trees See (MORR 178CD/LP) showcased Tamborello's more intricate and quiet side, Away embraces his love for pop music. A genre which like no other has been resonating the advancements of technology from the very beginning. Songwriting was sequenced and computerized on such a large scale that it would change the sonic aesthetics of the charts forever. Dntel is a musician who changed pop music forever -- and still works in this never-ending labor of love, both effortless and highly focused, constantly tweaking the universe of our musical perception. Whether beatless or uncompromisingly embracing the limelight of collective ecstasy with one of his most remembered tunes "(This Is) The Dream Of Evan And Chan", his almost forgotten anthem "Don't Get Your Hopes Up" or his work as James Figurine. Away features ten of these extravaganzas -- uniting his audience once more in hope and future-bound optimism. "I grew up with '80s techno-pop -- these influences always come through in my music," Jimmy writes from Los Angeles. For this album, though, "I was thinking more of '80s indie pop or labels like 4AD. It is a mix of those influences along with trying to figure out what elements of my own discography I still connect with. I wanted it to reflect old Dntel records as well as the techno-pop band Figurine I used to be in. I have always considered my music basically being techno-pop, but not referring to pop as popular music -- I just like pretty melodies. But with the Dntel moniker, I never had the ambition to produce music for a really big audience." It is exactly that looseness in approaching music which makes Tamborello's style of composing so unique. On Away he combines a healthy dose of distortion with the most-sticking melodies, vocals and bitter-sweet lyrics he ever came up with --performing all vocals himself, with the help of technology. On Away, Jimmy Tamborello finds the perfect way of marrying his unique musical personality with both the demands and possibilities of pop music. Includes download code.

$17.50 IN STOCK

Following in the footsteps of the pathbreaking Minna Miteru (MORR 168CD/LP, 2020) compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya's songwriting, and the group's limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido, and more. There's the playful seriousness of Maher Shalal Hash Baz's Tori Kudo here, but also the flexibility of freely improvised music. You can also hear Shibuya's fondness for Mayo Thompson and The Red Crayola in both the idiosyncrasies of the writing and the egalitarian looseness of the playing. The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There's a gorgeous soul-inflected lilt to "A House"; the swaying brass on "Storm"; the nakedness of "The Sweetest Mass" slightly reminiscent of Carla Bley's more pop-focused writing. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like "Umbrella People" from Onibi. Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on "Umbrella People") and Olympia, Washington's LAKE (on "The Devil Song"). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit. CD version comes with 28-page booklet; edition of 500.

$37.50 PREORDER RELEASE DATE: 6/18/2021

Double LP version. Gatefold sleeve with printed inner sleeves; includes three bonus tracks; 28-page booklet; includes download code; edition of 500. Following in the footsteps of the pathbreaking Minna Miteru (MORR 168CD/LP, 2020) compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya's songwriting, and the group's limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido, and more. There's the playful seriousness of Maher Shalal Hash Baz's Tori Kudo here, but also the flexibility of freely improvised music. You can also hear Shibuya's fondness for Mayo Thompson and The Red Crayola in both the idiosyncrasies of the writing and the egalitarian looseness of the playing. The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There's a gorgeous soul-inflected lilt to "A House"; the swaying brass on "Storm"; the nakedness of "The Sweetest Mass" slightly reminiscent of Carla Bley's more pop-focused writing. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like "Umbrella People" from Onibi. Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on "Umbrella People") and Olympia, Washington's LAKE (on "The Devil Song"). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

$15.50 IN STOCK

New album by Jimmy Tamborello aka Dntel aka James Figurine aka one half of The Postal Service. Hailing from Los Angeles, Jimmy Tamborello has been a key figure in refining what today is considered electronica for over 20 years. The Seas Trees See is the first of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus: a free-floating and rather loose stroke of musical genius, giving ambience a whole new meaningful context. It combines crackles and hiss with deep, yet modest, synths and poignant, yet elegant, vocals and lyrics. Away, its counterpart album, will follow later in 2021. It will showcase Dntel's unapologetic love for pop music from a long-gone era, presenting yet another aspect of his multi-faceted personality. Dntel has always covered many musical grounds -- from the pop-infused hits on Life Is Full Of Possibilities (2001) to his much more abstract works on Aimlessness (2012), Human Voice (2014), and his electronics for The Postal Service. Whatever his style -- Tamborello has retained his very own musical voice. When it comes to producing music, it can be a good idea to get away from the studio and find a more relaxed environment. Inspiration does not necessarily require huge bass bins. Fewer pieces of gear make it easier to really focus on ideas first and let them be. After recording Hate In My Heart (LAC 013LP) -- his most recent album, released in 2018 -- this way, Tamborello continued working in that fashion, mainly jamming and getting ideas together for upcoming live shows. One of the first results of this creative process was the opening track of The Seas Trees See -- a cover version of "The Lilac and the Apple", originally recorded by Californian folk singer Kate Wolf in 1977. Tamborello turns the acapella song into a vocoder-like extravaganza. Working with the original recording, the track perfectly sets the tone for what The Seas Trees See turns out to be a quiet yet mesmerizing journey through sound and emotion, bringing together his very own sound design, disguised samples and an incredible feel for moods and atmospheres. Despite its perfect and gentle flow, it is worth digging deeper, to surrender oneself to all the painstakingly placed details. Whether the beautiful and haunting piano work on "Movie Tears" or the almost sidechained-sounding "Yoga App" --every aspect of this album has been beautifully crafted. Small things add up to something great, diverse and riveting. The subtlety of his latest endeavor is fascinating. It opens up a new world, in which small musical sketches mean at least as much as perfectly produced pop anthems.

$21.00 LOW STOCK LEVEL

LP version. Includes download code. New album by Jimmy Tamborello aka Dntel aka James Figurine aka one half of The Postal Service. Hailing from Los Angeles, Jimmy Tamborello has been a key figure in refining what today is considered electronica for over 20 years. The Seas Trees See is the first of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus: a free-floating and rather loose stroke of musical genius, giving ambience a whole new meaningful context. It combines crackles and hiss with deep, yet modest, synths and poignant, yet elegant, vocals and lyrics. Away, its counterpart album, will follow later in 2021. It will showcase Dntel's unapologetic love for pop music from a long-gone era, presenting yet another aspect of his multi-faceted personality. Dntel has always covered many musical grounds -- from the pop-infused hits on Life Is Full Of Possibilities (2001) to his much more abstract works on Aimlessness (2012), Human Voice (2014), and his electronics for The Postal Service. Whatever his style -- Tamborello has retained his very own musical voice. When it comes to producing music, it can be a good idea to get away from the studio and find a more relaxed environment. Inspiration does not necessarily require huge bass bins. Fewer pieces of gear make it easier to really focus on ideas first and let them be. After recording Hate In My Heart (LAC 013LP) -- his most recent album, released in 2018 -- this way, Tamborello continued working in that fashion, mainly jamming and getting ideas together for upcoming live shows. One of the first results of this creative process was the opening track of The Seas Trees See -- a cover version of "The Lilac and the Apple", originally recorded by Californian folk singer Kate Wolf in 1977. Tamborello turns the acapella song into a vocoder-like extravaganza. Working with the original recording, the track perfectly sets the tone for what The Seas Trees See turns out to be a quiet yet mesmerizing journey through sound and emotion, bringing together his very own sound design, disguised samples and an incredible feel for moods and atmospheres. Despite its perfect and gentle flow, it is worth digging deeper, to surrender oneself to all the painstakingly placed details. Whether the beautiful and haunting piano work on "Movie Tears" or the almost sidechained-sounding "Yoga App" --every aspect of this album has been beautifully crafted. Small things add up to something great, diverse and riveting. The subtlety of his latest endeavor is fascinating. It opens up a new world, in which small musical sketches mean at least as much as perfectly produced pop anthems.

$32.00 LOW STOCK LEVEL

Double LP version. Three-sided vinyl; includes printed inners and download code. On Vertigo Days, the first album in seven years for The Notwist, one of Germany's most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic krautrock, and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist. It's been seven years since The Notwist's last album, Close To The Glass (2014), and in that time the various members of the group have been busy with side projects (Spirit Fest, Hochzeitskapelle, Alien Ensemble, Joasihno), guest appearances, a record label (Alien Transistor), movie scoring, helping organize the Minna Miteru compilation of Japanese indie pop (MORR 168CD/LP), and running a festival (Alien Disko). Those divergent paths feed back into Vertigo Days in surprising ways, from its structure, built from group improvisations, with songs flowing and melting into one another in a collective haze, to its spirit, which feels refreshed and alive. There's something cinematic about Vertigo Days too, reflective of the group's time working on soundtracks. The album's lead single, "Ship", sees the group joined by Saya of Japanese pop duo Tenniscoats, her disarmingly hymnal voice sighing over a propulsive, krautrocking beat. American multi-instrumentalist Ben LaMar Gay sings on "Oh Sweet Fire", also contributing "a love lyric for these times". American jazz clarinetist and composer Angel Bat Dawid adds clarinet to the spaced-out dream-pop of "Into The Ice Age", while Argentinian electronica songwriter Juana Molina gifts some gorgeous singing and electronics to "Al Sur". Saya also reappears as a member of Japanese brass band Zayaendo, who guest on the album. Throughout, The Notwist also capture the openness of their live performances, too, where they mix and link their songs in unexpected ways. Vertigo Days sits together as one long, flowing suite, the album conceptualized as a whole entity. This is also captured by the album's lyrics, which Markus states, "feel more like one long poem." The dimensions of that poem are multi-faceted, something intensified by the geopolitical weirdness of its times. But it also works at a level of poetic abstraction, such that each song gestures in multiple directions -- the deeply private pans out to the global. Vertigo Days is an album that is brimming with life, with enthusiasm and love for music and for community, all wide-eyed and dreaming.

$15.50 IN STOCK

On Vertigo Days, the first album in seven years for The Notwist, one of Germany's most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic krautrock, and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist. It's been seven years since The Notwist's last album, Close To The Glass (2014), and in that time the various members of the group have been busy with side projects (Spirit Fest, Hochzeitskapelle, Alien Ensemble, Joasihno), guest appearances, a record label (Alien Transistor), movie scoring, helping organize the Minna Miteru compilation of Japanese indie pop (MORR 168CD/LP), and running a festival (Alien Disko). Those divergent paths feed back into Vertigo Days in surprising ways, from its structure, built from group improvisations, with songs flowing and melting into one another in a collective haze, to its spirit, which feels refreshed and alive. There's something cinematic about Vertigo Days too, reflective of the group's time working on soundtracks. The album's lead single, "Ship", sees the group joined by Saya of Japanese pop duo Tenniscoats, her disarmingly hymnal voice sighing over a propulsive, krautrocking beat. American multi-instrumentalist Ben LaMar Gay sings on "Oh Sweet Fire", also contributing "a love lyric for these times". American jazz clarinetist and composer Angel Bat Dawid adds clarinet to the spaced-out dream-pop of "Into The Ice Age", while Argentinian electronica songwriter Juana Molina gifts some gorgeous singing and electronics to "Al Sur". Saya also reappears as a member of Japanese brass band Zayaendo, who guest on the album. Throughout, The Notwist also capture the openness of their live performances, too, where they mix and link their songs in unexpected ways. Vertigo Days sits together as one long, flowing suite, the album conceptualized as a whole entity. This is also captured by the album's lyrics, which Markus states, "feel more like one long poem." The dimensions of that poem are multi-faceted, something intensified by the geopolitical weirdness of its times. But it also works at a level of poetic abstraction, such that each song gestures in multiple directions -- the deeply private pans out to the global. Vertigo Days is an album that is brimming with life, with enthusiasm and love for music and for community, all wide-eyed and dreaming.

$37.50 IN STOCK

Double-LP version. Gatefold sleeve; includes printed inner sleeves and download code; edition of 500. There Is A Sound is a compilation of blissed-out psych-folk songs by Andersens, a Japanese independent pop group who were led by Tsuby, aka Kiyokazu Onozaki, and were active throughout the '00s. A lovely set of intimate revelations, with some widescreen, bold pop moments, dreamy guitars meeting brass, electronics and sitar, it's really the first time listeners outside of Japan have had the chance to take in the full spread of Andersens and their gentle pop songs. Released on the heels Morr Music's Minna Miteru compilation of Japanese indie pop (MORR 168CD/LP), There Is A Sound is the first in a series of artist compilations that dig deeper into Japan's musical underground. Co-compiled by Tsuby and Markus Acher (The Notwist, Spirit Fest), the collection sheds much-needed light on a unique songwriter, one part of a vital and energetic scene that is largely unrepresented outside of Japan. Tsuby is a naturally gifted songwriter, his melodic sensibility draws equally from predecessors like Syd Barrett and The Beatles, and peers like Tenniscoats and Maher Shalal Hash Baz. Indeed, groups like Maher Shalal Hash Baz, and Tenniscoats precursors Puka Puka Brians were very important to Tsuby. Inviting Puka Puka Brians to play at his very first gig, Tsuby quickly found himself to be part of a scene of like-minded souls, where expression and experiment was paramount, within the framework of gorgeous, fragile pop melodies. That being said, Andersens music is also fiercely individual, an expression of Tsuby's quietly questing personality. You can hear it on the playful groove that marks out "The Light It Turns To Rain...", through the rolling country-folk vibe of "Atom/Spirit", the spiraling pop-psychedelia and playful electronics and sitar of "Empty Love", to the breathy glitches of "Swan". Throughout, Tsuby takes risks with his songs, looking at them sideways, finding new angles on arrangement and embellishment, while staying true to his core sensibility. There Is A Sound draws from Andersens' four albums: Between Static & Fire (2003); Prepared Landscape (2004); Gzi Gzi Gzeo (2007), and Musiquestions (2008). One song, "Dodesukaden", reaches further back, to their debut CD-R, A Rooftop In "S" Thunderstorm Row Missing The Point (2002). Presented this way, the gentle developments in Andersens music become clear -- a folksier touch here, some electronics or wind instruments there, perhaps the influence of chindon'ya in the brass arrangements.

$17.50 IN STOCK

There Is A Sound is a compilation of blissed-out psych-folk songs by Andersens, a Japanese independent pop group who were led by Tsuby, aka Kiyokazu Onozaki, and were active throughout the '00s. A lovely set of intimate revelations, with some widescreen, bold pop moments, dreamy guitars meeting brass, electronics and sitar, it's really the first time listeners outside of Japan have had the chance to take in the full spread of Andersens and their gentle pop songs. Released on the heels Morr Music's Minna Miteru compilation of Japanese indie pop (MORR 168CD/LP), There Is A Sound is the first in a series of artist compilations that dig deeper into Japan's musical underground. Co-compiled by Tsuby and Markus Acher (The Notwist, Spirit Fest), the collection sheds much-needed light on a unique songwriter, one part of a vital and energetic scene that is largely unrepresented outside of Japan. Tsuby is a naturally gifted songwriter, his melodic sensibility draws equally from predecessors like Syd Barrett and The Beatles, and peers like Tenniscoats and Maher Shalal Hash Baz. Indeed, groups like Maher Shalal Hash Baz, and Tenniscoats precursors Puka Puka Brians were very important to Tsuby. Inviting Puka Puka Brians to play at his very first gig, Tsuby quickly found himself to be part of a scene of like-minded souls, where expression and experiment was paramount, within the framework of gorgeous, fragile pop melodies. That being said, Andersens music is also fiercely individual, an expression of Tsuby's quietly questing personality. You can hear it on the playful groove that marks out "The Light It Turns To Rain...", through the rolling country-folk vibe of "Atom/Spirit", the spiraling pop-psychedelia and playful electronics and sitar of "Empty Love", to the breathy glitches of "Swan". Throughout, Tsuby takes risks with his songs, looking at them sideways, finding new angles on arrangement and embellishment, while staying true to his core sensibility. There Is A Sound draws from Andersens' four albums: Between Static & Fire (2003); Prepared Landscape (2004); Gzi Gzi Gzeo (2007), and Musiquestions (2008). One song, "Dodesukaden", reaches further back, to their debut CD-R, A Rooftop In "S" Thunderstorm Row Missing The Point (2002). Presented this way, the gentle developments in Andersens music become clear -- a folksier touch here, some electronics or wind instruments there, perhaps the influence of chindon'ya in the brass arrangements. CD version includes 24-page booklet; edition of 500.

$19.50 IN STOCK

After six years, The Notwist return with three new tracks on Morr Music. It's both an exposition of the band's musical variety and a prospect on a forthcoming album. Six years have passed since The Notwist released their last regular studio album, but that doesn't mean that the members of this outstanding band have been idle in the meantime. There have been side projects, movie scoring, and other activities, like programming four editions of Alien Disko, a festival taking place in Munich, Germany. One of that event's regular guests was the Japanese duo Tenniscoats -- and a lovely side effect from that was an evolving friendship between the two bands. It lead to various collaborations: most recently in a new album by international band -- Spirit Fest (featuring Tenniscoats singer Saya and The Notwist's Markus and Cico) and a deep digging compilation of Japanese indie music called Minna Miteru (MORR 168CD/LP). The title track of this new EP is another step in this collaboration -- and a first step to an upcoming album by The Notwist -- as it features Saya, who lends her voice to the percussive song. It is built around a slightly detuned synth line, which is contrasted by more pragmatic guitar work. "It neither sounds like The Notwist, Tenniscoats, nor Spirit Fest", tells Markus Acher. "Just like Saya is saying in the lyrics: 'I want to go outside, I want to meet people', 'Ship' is another chapter in what The Notwist always tries to do: redefining itself, exploring something new, integrating different styles of music and collaborating with musicians they admire." The second song "Loose Ends" is, in contrast, more classic Notwist material. A gently expanding ballad, this time featuring the distinctive voice of Markus Acher. The song came out of recording sessions for the soundtrack for One Of These Days, a movie by Bastian Günther. The EP then closes with "Avalanche" a carefully optimistic instrumental. With its variety of styles, "Ship" also serves as an outlook on an upcoming album, which will be influenced by the band's experiences from their detailed work of creating sounds and moods for film soundtracks, and it will include more collaborations with international guest musicians. Three exclusive tracks; 10"; includes download code; edition of 1000.

$37.50 IN STOCK

Double LP version. Gatefold sleeve; includes printed inner sleeves and download code. "With Mirage Mirage, avant-pop quintet Spirit Fest gifts their listeners with their richest, deepest record to date. It's no surprise when you consider the group's membership: Saya and Ueno, aka the duo Tenniscoats; Markus Acher, best known as singer of The Notwist; Mat Fowler, who plays with Jam Money and Bons; and Cico Beck, who's making music with Joasinho, Aloa Input, and The Notwist. If that feels like a heavyweight line-up, that's because it is -- yet the overarching mood of Spirit Fest is one of lightness and joy, of experiment and pure pop pleasure. Sessions for the album were split between the Tenniscoats' Tokyo home studio in November 2018, and a small apartment studio in Munich in June 2019. Saya, Ueno and Markus pitched in songs, but sometimes, as with 'Fish With Arms', beguiling moments grew from group improvisations, often kicked off by Cico and Mat. All members stretched their instrumental limbs, too . . . There's a sincere, child-like generosity to the music, and a playfulness with an everyday surrealism you can hear in some of the experimental interjections across the album. Its final sound is the rolling click-clacking of a bicycle wheel. The bike was key to one of Mat's explorations of the Tenniscoats' Tokyo neighborhood . . . Stumbling across art amongst the everyday; that's also core to Spirit Fest . . . There's more here than just avant-pop: see the pronounced folksy lilt to 'The Snow Falls On Everyone'; or 'Mohikone', a gorgeous instrumental, droplets of piano pattering amongst a plangent acoustic guitar. The seven-minute 'Zenbu Honto (Every Thing Is Everything)' is a spiraling psychedelic pop mantra, with field recordings and slithering electronics tracing a path under the scrub-growth of guitar, piano, and drums. There are guest appearances from Micha Acher (The Notwist, Tied & Tickled Trio) on trumpet, and Aiko Okamoto, who takes part in the choral rounds of the album's closing tune, 'Saigo Song'. Whichever way you approach it, though, the guiding force of Spirit Fest is friendship and collaboration, giving life to collective dreaming..." --Jon Dale

$37.50 IN STOCK

Repressed; double LP version. Gatefold sleeve with printed inner sleeves and 32-page booklet; Includes download code; edition of 500. In collaboration with Markus Acher's Alien Transistor label, Morr Music presents a collection of hard-to-find Japanese independent music, compiled by Saya, who plays with Ueno Takashi in the iconic duo Tenniscoats. They are part of a current music scene, which is little known outside of Japan. Minna Miteru focuses on that very scene: the featured bands and musicians share a certain idea of DIY, and are also connected through frequent collaborations and mutual appreciation.

The following notes were written by Markus Acher, who also plays with Saya & Ueno in the band Spirit Fest: "In 2018 I was sitting in the Tenniscoats' kitchen with beer and music, looking at Ueno's wonderful risograph songbook 'Minna Miteru' (Everybody Watch) which collects the lyrics and chords of their friends' songs alongside his own illustrations, when Saya suggested putting together a compilation of these and other songs for our label. I couldn't have been happier, this sounded like a dream to me . . . here is Minna Miteru, a compilation of recent Japanese indie-music. And I'm very happy about it, because although there have been many great reissues of '70s and '80s Japanese music recently, most contemporary Japanese independent bands and artists are hardly known outside of Japan and so it's hard to find their music. And I couldn't think of a better guide to this special scene than Saya, whose love, dedication, and personal selections have made this such a unique and beautiful compilation. You'll hear some of the Tenniscoats' closest friends and collaborators (Eddie Marcon, Yumbo, Yuko Ikema), but also artists they are fans of, like the legendary Jun Konagaya (aka Grim) and many befriended bands that form a scene of uncategorizable outsiders in pop, like the one-man-orchestra Ichi, the trumpet-trumpet-organ-trio Popo, the mysterious psychedelic songwriter Aritomo, and the pianist/electronic musician, Ytamo. So many beautiful surprises: melodicas, electronics, folk-songs, brass bands, sound-experiments and melodies, melodies, melodies... Every song a treasure, exploding with ideas, and me personally, I could listen to the Tenniscoats and Yumbo collaboration and Zayaendo's 'Hiyodori' forever on repeat." Also features Takashi Hattori, namaeganai, Takako Minekawa ＆ Dustin Wong, Alpha, Vagamoron, Kasumi Trio, Go Hirano, Satoko Shibata, Tomoaki Saito + Tenco Matsuri, Cacoy, Andersens, Jiro Imai, Urichipangoon, Jun Konagaya, Nikasoup & Sayasource, Borzoi, and 2B.

$15.50 IN STOCK

"With Mirage Mirage, avant-pop quintet Spirit Fest gifts their listeners with their richest, deepest record to date. It's no surprise when you consider the group's membership: Saya and Ueno, aka the duo Tenniscoats; Markus Acher, best known as singer of The Notwist; Mat Fowler, who plays with Jam Money and Bons; and Cico Beck, who's making music with Joasinho, Aloa Input, and The Notwist. If that feels like a heavyweight line-up, that's because it is -- yet the overarching mood of Spirit Fest is one of lightness and joy, of experiment and pure pop pleasure. Sessions for the album were split between the Tenniscoats' Tokyo home studio in November 2018, and a small apartment studio in Munich in June 2019. Saya, Ueno and Markus pitched in songs, but sometimes, as with 'Fish With Arms', beguiling moments grew from group improvisations, often kicked off by Cico and Mat. All members stretched their instrumental limbs, too . . . There's a sincere, child-like generosity to the music, and a playfulness with an everyday surrealism you can hear in some of the experimental interjections across the album. Its final sound is the rolling click-clacking of a bicycle wheel. The bike was key to one of Mat's explorations of the Tenniscoats' Tokyo neighborhood . . . Stumbling across art amongst the everyday; that's also core to Spirit Fest . . . There's more here than just avant-pop: see the pronounced folksy lilt to 'The Snow Falls On Everyone'; or 'Mohikone', a gorgeous instrumental, droplets of piano pattering amongst a plangent acoustic guitar. The seven-minute 'Zenbu Honto (Every Thing Is Everything)' is a spiraling psychedelic pop mantra, with field recordings and slithering electronics tracing a path under the scrub-growth of guitar, piano, and drums. There are guest appearances from Micha Acher (The Notwist, Tied & Tickled Trio) on trumpet, and Aiko Okamoto, who takes part in the choral rounds of the album's closing tune, 'Saigo Song'. Whichever way you approach it, though, the guiding force of Spirit Fest is friendship and collaboration, giving life to collective dreaming..." --Jon Dale CD version comes in digipak; includes eight-page booklet.

$21.00 IN STOCK

In collaboration with Markus Acher's Alien Transistor label, Morr Music presents a collection of hard-to-find Japanese independent music, compiled by Saya, who plays with Ueno Takashi in the iconic duo Tenniscoats. They are part of a current music scene, which is little known outside of Japan. Minna Miteru focuses on that very scene: the featured bands and musicians share a certain idea of DIY, and are also connected through frequent collaborations and mutual appreciation. Includes 32-page booklet.

The following notes were written by Markus Acher, who also plays with Saya & Ueno in the band Spirit Fest: "In 2018 I was sitting in the Tenniscoats' kitchen with beer and music, looking at Ueno's wonderful risograph songbook 'Minna Miteru' (Everybody Watch) which collects the lyrics and chords of their friends' songs alongside his own illustrations, when Saya suggested putting together a compilation of these and other songs for our label. I couldn't have been happier, this sounded like a dream to me . . . here is Minna Miteru, a compilation of recent Japanese indie-music. And I'm very happy about it, because although there have been many great reissues of '70s and '80s Japanese music recently, most contemporary Japanese independent bands and artists are hardly known outside of Japan and so it's hard to find their music. And I couldn't think of a better guide to this special scene than Saya, whose love, dedication, and personal selections have made this such a unique and beautiful compilation. You'll hear some of the Tenniscoats' closest friends and collaborators (Eddie Marcon, Yumbo, Yuko Ikema), but also artists they are fans of, like the legendary Jun Konagaya (aka Grim) and many befriended bands that form a scene of uncategorizable outsiders in pop, like the one-man-orchestra Ichi, the trumpet-trumpet-organ-trio Popo, the mysterious psychedelic songwriter Aritomo, and the pianist/electronic musician, Ytamo. So many beautiful surprises: melodicas, electronics, folk-songs, brass bands, sound-experiments and melodies, melodies, melodies... Every song a treasure, exploding with ideas, and me personally, I could listen to the Tenniscoats and Yumbo collaboration and Zayaendo's 'Hiyodori' forever on repeat." Also features Takashi Hattori, namaeganai, Takako Minekawa ＆ Dustin Wong, Alpha, Vagamoron, Kasumi Trio, Go Hirano, Satoko Shibata, Tomoaki Saito + Tenco Matsuri, Cacoy, Andersens, Jiro Imai, Urichipangoon, Jun Konagaya, Nikasoup & Sayasource, Borzoi, and 2B.

$15.50 IN STOCK

Slow Reels combines Ian Hawgood's love of reel-to-reel tape machines and vintage synthesizers with James Murray's melodicism and richly textured digital sound design. Their Morr Music debut, Farewell Islands, is an arresting, fluorescing album that blends full-frequency drone-scaping with a slow-burning ambient minimalism. Ian and James met on the UK minimal music scene releasing each others' music on their Home Normal and Slowcraft labels. Their recording collaboration began remotely while Ian lived in Warsaw, spending long nights with his collection of reel-to-reel machines: "I created a number of loops with an old and sadly dying Akai which was noisy and would stutter quite a bit. I also found myself using older tape on cracked reels and the effects of this really helped develop a newer path for my own work." James began to weave piano, guitar and synthesizers into the material from his London studio, combining the two artists' tonalities into something so unexpectedly compelling it took them both by surprise. Ian then transferred these manipulations back onto tape, further refining and defining the sound during deep dive experimental analogue mastering sessions. The role of old technology in Slow Reels' work lends a sense of decay and transience sure to resonate with admirers of William Basinski, Rafael Anton Irisarri, and Benoît Pioulard, but the underlying melodies set a clear counterpoint: a longing for the vivid is deeply grounded within this music. The four cinematic, long-form movements of Farewell Islands possess a delicate romanticism and emotional urgency that engages and gradually overwhelms the listener. The islands of the title are both real and notional, as James explains: "places of meaning to both of us in our lives, found now only out of time, belonging outside the present and out of reach." This nostalgic farewell also marks a fresh beginning, as the duo's ongoing Brighton-based studio sessions generate further reels of unearthly electronic landscapes that seem to hiss, warble and granulate their own way onto tape.

$20.00 IN STOCK

LP version. Includes download code. Slow Reels combines Ian Hawgood's love of reel-to-reel tape machines and vintage synthesizers with James Murray's melodicism and richly textured digital sound design. Their Morr Music debut, Farewell Islands, is an arresting, fluorescing album that blends full-frequency drone-scaping with a slow-burning ambient minimalism. Ian and James met on the UK minimal music scene releasing each others' music on their Home Normal and Slowcraft labels. Their recording collaboration began remotely while Ian lived in Warsaw, spending long nights with his collection of reel-to-reel machines: "I created a number of loops with an old and sadly dying Akai which was noisy and would stutter quite a bit. I also found myself using older tape on cracked reels and the effects of this really helped develop a newer path for my own work." James began to weave piano, guitar and synthesizers into the material from his London studio, combining the two artists' tonalities into something so unexpectedly compelling it took them both by surprise. Ian then transferred these manipulations back onto tape, further refining and defining the sound during deep dive experimental analogue mastering sessions. The role of old technology in Slow Reels' work lends a sense of decay and transience sure to resonate with admirers of William Basinski, Rafael Anton Irisarri, and Benoît Pioulard, but the underlying melodies set a clear counterpoint: a longing for the vivid is deeply grounded within this music. The four cinematic, long-form movements of Farewell Islands possess a delicate romanticism and emotional urgency that engages and gradually overwhelms the listener. The islands of the title are both real and notional, as James explains: "places of meaning to both of us in our lives, found now only out of time, belonging outside the present and out of reach." This nostalgic farewell also marks a fresh beginning, as the duo's ongoing Brighton-based studio sessions generate further reels of unearthly electronic landscapes that seem to hiss, warble and granulate their own way onto tape.

$15.50 IN STOCK

ISAN's Robin Saville reveals an ambient album, which merges the electronica aesthetics of his main project with field recordings, drones, and acoustic instrumentation. A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let's get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one's own rhythm in life. Robin Saville is such an ambler. His walks inspired him to base his third solo album -- his first one for Morr Music following releases on Static Caravan and Second Language -- on the out of the way places he came to see and experience while being out and about. Clocking in at just under 40 minutes in total, Build A Diorama is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow -- like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focusing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning. Built around quiet field recordings, Saville's six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes, and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville's Build A Diorama is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn, and understand.

$20.00 IN STOCK

LP version. Includes printed inner sleeve and download code. ISAN's Robin Saville reveals an ambient album, which merges the electronica aesthetics of his main project with field recordings, drones, and acoustic instrumentation. A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let's get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one's own rhythm in life. Robin Saville is such an ambler. His walks inspired him to base his third solo album -- his first one for Morr Music following releases on Static Caravan and Second Language -- on the out of the way places he came to see and experience while being out and about. Clocking in at just under 40 minutes in total, Build A Diorama is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow -- like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focusing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning. Built around quiet field recordings, Saville's six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes, and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville's Build A Diorama is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn, and understand.

$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.