MorMor: “In music, there is something of transcendence”

Four years after the hit “Heaven’s Only Whishful”, the artist from Toronto finally publishes his first album. From his relationship to isolation and his love for Björk to his fascination with time, an encounter with MorMor.

After two EPs that left us completely flabbergasted (Heaven’s Only Wishful in 2018 and Some Place Else in 2019), the musician from Toronto bought himself all the time necessary to mature his first real album: semblance, a title that contains all the ambivalence of this disc developed partly as a soloist during confinement. Interview with MorMor, the dream music therapist for the season.

How do you feel at the dawn of the release of a first album that took you so long to release?
I have never been so excited. I think with the first two projects I was always experimenting with things, with different sounds and textures. Preventatively, I wanted to make a new EP before moving on to the stage of the first album, I wanted to discover myself a little more before but it ended up becoming an album in its own right.

What is your creative process?
I had rented a house and collected a lot of equipment over a long period of time. We ended up setting up the studio in the living room with my engineer from New York. And then the pandemic happened, everything shut down, and I was left to handle most of the check-in alone.

How did it go?
In the beginning, I wrote a lot of music because I had a sound engineer with me. I was at a point in my career where I no longer wanted to be obsessed with the computer and just deal with the creative process. When I found myself alone, it was less consistent, less inspired. I refocused on making music as a way to heal myself. I was creating musical landscapes on the piano, not necessarily driven by the idea of ​​making an album but just to create music and sound.

How did you manage the isolation, you who have often praised its merits in interviews?
In some ways, it’s like I was groomed for this. (Laughs) But when you’re forced into isolation, when you’re even forbidden to set foot outside, it’s different and complicated. So I think I needed to see the positive in this confinement, it altered my style of writing: less metaphors, more direct.

Do you care about your independence?
I don’t think that’s something I consider. I realized that this independence reveals itself. For very specific things like mixing, doing eight to ten versions, I cherish the authority I have over my music but I also love collaboration. When I started, so many things were new to me at that time that I was very careful. Now that I’m entangled with her, I think I have more faith in the music industry than before.

On semblance, I have the impression that you are completely self-sufficient. That the only music that inspired you is that of your previous EPs?
Maybe that’s the case with all my projects. But on semblance, the thing I was most sure of was that I wanted to be more direct and vulnerable in my lyrics. My only desire is to be able to listen to my own music. The idea is to store things constantly. When I start recording, every song feels like what I’m feeling at that exact moment. I’m not doing this on purpose: “Oh, I’m going to do a Beatles-style song! ”

If you have no direct influences, is there an artist who inspires you in their way of working?
My biggest inspiration, and I’m talking about the whole spectrum of artists, musically, visually, even in terms of fashion, is Björk. His way of making music, his development. Recently, I think that if you had to follow in the footsteps of a single artist for her consistency, for her own vision, it’s her.

Your relationship to time also holds a particularly important place on the record.
I was not aware of this theme when making the record. It must partially come from the pandemic, to have so much time. It was not only the idea of ​​imagining what will happen but also a renewal of what my goals were in life, in music, which was important to me. Whenever I referenced time, it happened in freestyles before I actually wrote. Word “time” came back often. It was there, something that worked for me, that was present in my life.

Where does the title come from semblance ?
I don’t remember when I came across it but it immediately became the title. It really goes with the dictionary definition, “the apparent form of something which is in fact different”. For me, it really encompassed the Zeitgeist of the world we live in. We always present ourselves as something, especially on social networks. And I think this idea of ​​ourselves, the way we interpret ourselves through this medium is often different from who we really are. As part of the songwriting, when you generate a bit of attention, people are bound to have their own interpretation even though that’s not what I meant. And I find that very interesting because through this process I realized how much – even though music is therapeutic – I wanted to be understood through my music. (Laughs)

Do you think music is the only way to do your therapy?
It’s one of the easiest places to express myself. I couldn’t put my finger on it, but music gives me access to a kind of subconscious that other things don’t. Music is really therapeutic in that way, it reveals things to you that you might never realize. I went through several periods of making music, but only recently noticed that I could spend two months making music every day and one month doing nothing at all. When I start I become obsessed with the idea of ​​continuing. But I don’t know why I start or how I stop. It’s something I love, but it’s not somewhere I always have access to.

What do you relate this feeling to?
As far back as I can remember, music has always transported me somewhere else. It makes me feel a kind of peace. Music can touch you in so many different ways. In my opinion, there is something of dissociation perhaps, of transcendence. Something sacred in a way. It allows me to deal with my feelings, to interpret things in such a different way. Like looking out of a car window. Depending on the song, it will change your perspective. I’ve always been obsessed with how music can alter your interpretation of certain experiences in your life.

Interview by Théo Dubreuil

semblance (Don’t Guess/AWAL). Released November 4.

Source : BBN NEWS

Related posts

Yan Wagner and La Mverte form Taste and release the music video for “Shame Game”


Los Bitchos blasts the Christmas song with the music video for “Los Chrismos”


Fleetwood Mac member Christine McVie is dead


Juliette Armanet continues to set fire with the clip of “La Flamme”

Sign up for our Newsletter and
stay informed

Leave a Reply

Your email address will not be published. Required fields are marked *