MorMor traces its pop art route on “Semblance”, its long-awaited first feature film

Four years after his sensational debut, the Canadian artist is finally reaching his full potential.

It is one of those inexplicable facts, driven by their own power of attraction and fascination. In 2018, when out of nowhere Heaven’s Only Wishful, dreamy first piece, unstoppable hustle and bustle of influences, no one – from the international press to the spellbound audience – was mistaken. While this inaugural coup, which culminates in nearly 15 million views on YouTube, could have pushed the Toronto artist to give in to the sirens of the industry. MorMor preferred the emancipatory value of this canon departure to chart its course in total independence on its own label.

Good for him, at the long-awaited hour of the first album, Seth Nyquist has lost none of his originality. Sometimes summoning the ethereal folk and falsetto of Mose Sumney or a British version of the music of Blood Orange – for this mixture of art pop, ambient, r’n’b and postpunk -, semblance is above all an opportunity to witness the insolent talent of its author. Out of frame, so touching (Days End, Crawl) that stimulating (Chasing Ghosts, Seasons Change), MorMor’s music seems to respond to the same intuitiveness (of writing, production, melodic) that ran through his early efforts, as if touched by grace.

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


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