MORR MUSIC - Forced Exposure

$17.50 PREORDER RELEASE DATE: 5/2/2025

Carpet Of Fallen Leaves is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as Yumbo, Andersens, and the Minna Miteru compilations. Carpet Of Fallen Leaves draws together songs from Eddie Marcon's twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs. Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan's underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon's sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music's core. They've long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who's played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te. Across the songs on Carpet Of Fallen Leaves, Eddie Marcon's songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they're variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous -- fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication. Includes 28-page booklet and download code.

$39.50 PREORDER RELEASE DATE: 5/2/2025

Double LP version. Gatefold sleeve; includes printed inner sleeve, 28-page booklet; edition of 700. Carpet Of Fallen Leaves is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as Yumbo, Andersens, and the Minna Miteru compilations. Carpet Of Fallen Leaves draws together songs from Eddie Marcon's twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs. Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan's underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon's sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music's core. They've long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who's played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te. Across the songs on Carpet Of Fallen Leaves, Eddie Marcon's songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they're variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous -- fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication. Includes download code.

$17.50 IN STOCK

Nuts of Ay, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014's Adrift. Beautifully poised and smartly dressed, it's an album that draws Tarwater's various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travelers. Tarwater's music has always been marked by a hypnotic pop-ness, but that's particularly evident on Nuts of Ay, where a song like "Hideous Kiss" weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of "Hideous Kiss" are written by the duo, Nuts of Ay also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman ("All Nuns") and Millner Place ("Trapdoor Spider"); lyrics from Jean Kenbrovin ("I'm Forever Blowing Bubbles"), the late Shane MacGowan ("USA") and, again, John Lennon ("Everybody Had a Hard Year"). This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout Nuts of Ay. Schneider TM turns up on the lovely, Felt-like "Spirit of Flux", where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling "On Waves and Years" with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on "Down Comes the Goose," and actor Lars Rudolph pitches in for "USA." Both voracious and committed in their creative energies, Jestram and Lippok say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it "grew together like a coral reef in the studio over a period of several years." This music shares a strong sense of place -- whether in the world, or the mind -- and the twelve songs on Nuts of Ay have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

$35.50 IN STOCK

LP version. Nuts of Ay, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014's Adrift. Beautifully poised and smartly dressed, it's an album that draws Tarwater's various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travelers. Tarwater's music has always been marked by a hypnotic pop-ness, but that's particularly evident on Nuts of Ay, where a song like "Hideous Kiss" weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of "Hideous Kiss" are written by the duo, Nuts of Ay also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman ("All Nuns") and Millner Place ("Trapdoor Spider"); lyrics from Jean Kenbrovin ("I'm Forever Blowing Bubbles"), the late Shane MacGowan ("USA") and, again, John Lennon ("Everybody Had a Hard Year"). This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout Nuts of Ay. Schneider TM turns up on the lovely, Felt-like "Spirit of Flux", where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling "On Waves and Years" with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on "Down Comes the Goose," and actor Lars Rudolph pitches in for "USA." Both voracious and committed in their creative energies, Jestram and Lippok say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it "grew together like a coral reef in the studio over a period of several years." This music shares a strong sense of place -- whether in the world, or the mind -- and the twelve songs on Nuts of Ay have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

$33.00 IN STOCK

LP version. Following a ten-year hiatus, multi-instrumentalists Rafael Anton Irisarri and Benoît Pioulard return with How to Color a Thousand Mistakes, their third LP together as Orcas. Building on the electronic minimalism of Orcas (MORR 111CD, 2012) and the Twin Peaks-inspired haze of Yearling (MORR 128CD, 2014), the duo have expanded their sound and vision into a full-spectrum ensemble. Recorded in a variety of studios and cities including Brooklyn, Cambridge, Oxford, Seattle, and upstate New York, the resulting album, under the tutelage of UK producer James Brown (Arctic Monkeys, Kevin Shields, Nine Inch Nails), is a patiently-crafted beast, equally inspired by impressionism, British new wave, and dream pop. With Irisarri's guidance and Brown's encouragement, Pioulard brings his velvety voice to its harmonized peak on songs like "Wrong Way to Fall" and the Durutti Column-indebted "Fare." Where his most recent solo albums for Morr Music (Sylva and Eidetic) navigated foggy forests of ambient pop and stacked tape loops, here his characteristic blur shifts into focus with a unique degree of clarity and confidence. Lead single, "Riptide," is a summary of Pioulard's life changes and personal upheavals in the past decade, "flitting eastward toward a yen deep in the past" and learning to glide through the tumult of ocean waves, as a metaphor for the punches one takes in pursuit of grace. Its towering, key-changing midsection arrives with the monumental drumming of Slowdive's Simon Scott. On third-act highlight, "Bruise," Scott is doubled on the drum kit by MONO's Dahm Majuri Cipolla, whose Liebezeit-influenced metronomy anchors a nimble bass groove from Andrew Tasselmyer (of Hotel Neon), and some of the album's most syncopated, spaced-out interplay, courtesy of Puerto Rican guitar player Orlando Méndez (a childhood friend of Irisarri's). Throughout How to Color a Thousand Mistakes, Irisarri uses his deep well of production experience to paint the stereo field with meticulously designed textures, exemplified on the slow burn of "Heaven's Despite" and the heady rush of "Swells." How to Color a Thousand Mistakes brims with tight, complex art rock songwriting, masterful production, and sonic versatility, informed by a plethora of genres and tonal hues. The title might promise answers, but the gravitational center of the album is the dawning realization that, as you reckon with the infinite whims of the cosmos, there could be none.

$18.00 IN STOCK

Following a ten-year hiatus, multi-instrumentalists Rafael Anton Irisarri and Benoît Pioulard return with How to Color a Thousand Mistakes, their third LP together as Orcas. Building on the electronic minimalism of Orcas (MORR 111CD, 2012) and the Twin Peaks-inspired haze of Yearling (MORR 128CD, 2014), the duo have expanded their sound and vision into a full-spectrum ensemble. Recorded in a variety of studios and cities including Brooklyn, Cambridge, Oxford, Seattle, and upstate New York, the resulting album, under the tutelage of UK producer James Brown (Arctic Monkeys, Kevin Shields, Nine Inch Nails), is a patiently-crafted beast, equally inspired by impressionism, British new wave, and dream pop. With Irisarri's guidance and Brown's encouragement, Pioulard brings his velvety voice to its harmonized peak on songs like "Wrong Way to Fall" and the Durutti Column-indebted "Fare." Where his most recent solo albums for Morr Music (Sylva and Eidetic) navigated foggy forests of ambient pop and stacked tape loops, here his characteristic blur shifts into focus with a unique degree of clarity and confidence. Lead single, "Riptide," is a summary of Pioulard's life changes and personal upheavals in the past decade, "flitting eastward toward a yen deep in the past" and learning to glide through the tumult of ocean waves, as a metaphor for the punches one takes in pursuit of grace. Its towering, key-changing midsection arrives with the monumental drumming of Slowdive's Simon Scott. On third-act highlight, "Bruise," Scott is doubled on the drum kit by MONO's Dahm Majuri Cipolla, whose Liebezeit-influenced metronomy anchors a nimble bass groove from Andrew Tasselmyer (of Hotel Neon), and some of the album's most syncopated, spaced-out interplay, courtesy of Puerto Rican guitar player Orlando Méndez (a childhood friend of Irisarri's). Throughout How to Color a Thousand Mistakes, Irisarri uses his deep well of production experience to paint the stereo field with meticulously designed textures, exemplified on the slow burn of "Heaven's Despite" and the heady rush of "Swells." How to Color a Thousand Mistakes brims with tight, complex art rock songwriting, masterful production, and sonic versatility, informed by a plethora of genres and tonal hues. The title might promise answers, but the gravitational center of the album is the dawning realization that, as you reckon with the infinite whims of the cosmos, there could be none.

$30.50 IN STOCK

LP version. toechter is an all-female trio operating from Berlin. toechter's second full-length album Epic Wonder sees its classically trained members blend elaborate string arrangements with ethereal indie pop and delicate rhythms. Katrine Grarup Elbo, Lisa Marie Vogel, and Marie-Claire Schlameus exclusively use analogue sound sources (such as violin, viola, cello, and their voices), which were then electronically processed. Epic Wonder was created in the spring and summer of 2023. Playing with forms and contours, the music sounds like the awakening of something new. One seems to be listening to an ongoing conversation, an exchange about what music could be, where it wants to go and how it contributes to our view of life. It all rests on a simple premise: "Every sound you hear in our universe comes from us. The string trio is the core of toechter, the starting point of all our work." Those looking for new worlds of sound can find them in the work of this classically- trained musicians. Whether they add voices or percussive instruments, sample the sounds, or manipulate them electronically; ultimately, they are exploring the string trio's place in a world shaped by the digital. Sometimes dwelling on subtle, yet marveling phenomena like the evening fog covering a valley on Midsummer, sometimes on grandiose splendors like the genesis of mountains or the birth of a child -- letting interactions and encounters with other beings float through the musical universe as drips of emotional perceptivity. For the visual manifestation of Epic Wonder, toechter has engaged with Finish up-and-coming lens-based artist Aino Kontinen.

$17.50 IN STOCK

toechter is an all-female trio operating from Berlin. toechter's second full-length album Epic Wonder sees its classically trained members blend elaborate string arrangements with ethereal indie pop and delicate rhythms. Katrine Grarup Elbo, Lisa Marie Vogel, and Marie-Claire Schlameus exclusively use analogue sound sources (such as violin, viola, cello, and their voices), which were then electronically processed. Epic Wonder was created in the spring and summer of 2023. Playing with forms and contours, the music sounds like the awakening of something new. One seems to be listening to an ongoing conversation, an exchange about what music could be, where it wants to go and how it contributes to our view of life. It all rests on a simple premise: "Every sound you hear in our universe comes from us. The string trio is the core of toechter, the starting point of all our work." Those looking for new worlds of sound can find them in the work of this classically- trained musicians. Whether they add voices or percussive instruments, sample the sounds, or manipulate them electronically; ultimately, they are exploring the string trio's place in a world shaped by the digital. Sometimes dwelling on subtle, yet marveling phenomena like the evening fog covering a valley on Midsummer, sometimes on grandiose splendors like the genesis of mountains or the birth of a child -- letting interactions and encounters with other beings float through the musical universe as drips of emotional perceptivity. For the visual manifestation of Epic Wonder, toechter has engaged with Finish up-and-coming lens-based artist Aino Kontinen.

$26.00 IN STOCK

In 1998, Carsten Nicolai, also known as Alva Noto, visited a sound installation created by Robert Lippok for a group exhibition in Weimar, Germany. Soon after, he invited Lippok to release music on his label Raster-Noton. Open Close Open was released in 2001 and marked the beginning of Lippok's solo career. Before, Lippok had already played in Ornament und Verbrechen (with his brother Ronald Lippok) and To Rococo Rot (with Ronald Lippok and Stefan Schneider). The title of the EP is a linguistic reference to the instructions found on everyday objects. In fact, the sound of birds or a closing door can be heard. Besides field recordings, cultural fragments were used -- including the sample of the famous "Adagietto" from Gustav Mahler's Symphony. No. 5. -- and integrated into three loop-based pieces, that have been praised by Fact Magazine as "a masterclass in collage, looping and tactile processing." The source material for Open Close Open initially served as a soundtrack for a video by Takehito Koganezawa, a visual artist from Japan. For this remastered vinyl reissue, Lippok revisited the original sound material and produced a new track called "Licht."

$30.50 IN STOCK

LP version. For their fourth album, Bear In Town, indie avant-pop supergroup Spirit Fest made a virtue of distance, with group members split across Europe, and recording sessions taking place after a brief 2021 tour of Europe. The six songs on this album illuminate different aspects of the transnational quintet's character -- lovely, heart-rending pop songs; melancholy chants; the joys of simple repetition -- with the group's guitar pop tended by gentle flourishes of piano and electronics. Some of those flourishes were spirited onto Bear In Town across the waves, with Mat Fowler (Bons, Jam Money) contributing from Britain, while the body of the music was recorded in a small apartment studio in Munich by the other members of Spirit Fest: Saya and Ueno (Tenniscoats), Markus Acher (The Notwist) and Cico Beck (Joasinho, Aloa Input). Bear In Town is concise and powerful, the infectious joy of the spirit communicated, beautifully, by melodies that balance the heartfelt with the melancholy. It's all the more impressive given this material was put down live in the studio, with a few vocal overdubs. The depth of feeling at the core of Spirit Fest's music is evident from the opening notes of Bear In Town. "Kou-Kou Land," the first song on the album, recalls several earlier Tenniscoats songs in the way the musicians weave gentle complexity around a simple, repeated chant. "Lost & Found" revolves around a delightful descending chord change that breaks up the swaying, folksy verses, gorgeous electronic whirrs and purring winds floating through the song. The following "In Our House" possesses such sweet sadness, it's one of Spirit Fest's most moving songs yet. "Like A Plane" repurposes a song that Markus Acher originally wrote and recorded for his solo EP of the same title, released on a 2022 10" on Morr Music. The original was a gentle, introverted lament, but the version on Bear In Town has a widescreen tenderness, its melancholy framed by raindrop piano. The album concludes with two moments of playful splendor, the bossa-inflected "Hill Blo," and the driving title track, both led by Saya, who is in stunning voice on this album; on "Bear In Town," her awestruck wonder perfectly captures the sense of possibility in the song's capacious chords. Like the rest of the album, it's full of kindness, rich with psych-pop splendor -- a balm for troubled times.

$16.00 IN STOCK

For their fourth album, Bear In Town, indie avant-pop supergroup Spirit Fest made a virtue of distance, with group members split across Europe, and recording sessions taking place after a brief 2021 tour of Europe. The six songs on this album illuminate different aspects of the transnational quintet's character -- lovely, heart-rending pop songs; melancholy chants; the joys of simple repetition -- with the group's guitar pop tended by gentle flourishes of piano and electronics. Some of those flourishes were spirited onto Bear In Town across the waves, with Mat Fowler (Bons, Jam Money) contributing from Britain, while the body of the music was recorded in a small apartment studio in Munich by the other members of Spirit Fest: Saya and Ueno (Tenniscoats), Markus Acher (The Notwist) and Cico Beck (Joasinho, Aloa Input). Bear In Town is concise and powerful, the infectious joy of the spirit communicated, beautifully, by melodies that balance the heartfelt with the melancholy. It's all the more impressive given this material was put down live in the studio, with a few vocal overdubs. The depth of feeling at the core of Spirit Fest's music is evident from the opening notes of Bear In Town. "Kou-Kou Land," the first song on the album, recalls several earlier Tenniscoats songs in the way the musicians weave gentle complexity around a simple, repeated chant. "Lost & Found" revolves around a delightful descending chord change that breaks up the swaying, folksy verses, gorgeous electronic whirrs and purring winds floating through the song. The following "In Our House" possesses such sweet sadness, it's one of Spirit Fest's most moving songs yet. "Like A Plane" repurposes a song that Markus Acher originally wrote and recorded for his solo EP of the same title, released on a 2022 10" on Morr Music. The original was a gentle, introverted lament, but the version on Bear In Town has a widescreen tenderness, its melancholy framed by raindrop piano. The album concludes with two moments of playful splendor, the bossa-inflected "Hill Blo," and the driving title track, both led by Saya, who is in stunning voice on this album; on "Bear In Town," her awestruck wonder perfectly captures the sense of possibility in the song's capacious chords. Like the rest of the album, it's full of kindness, rich with psych-pop splendor -- a balm for troubled times.

$31.50 IN STOCK

Robin Saville -- one half of the influential duo ISAN -- returns to Morr Music with Lore, his fourth solo album to date. After 2020's Build A Diorama (MORR 172CD/LP), the British musician takes his love for field recordings, whirring pads, hovering bells, and subtle electronics further, adding extra depth to both his sonic palette and his storytelling, focusing on biological diversity and its implications for human life. For many years now, "look and listen" has been Robin Saville's motto on his regular environmental explorations. The avid ambler does not just enjoy being out and about in nature; it is an important inspiration for his creative work as well. Sounds, smells, colors, and even soil properties add to the experience. Equipped with a microphone and a recording device, Saville documents his strolls, using these recordings as a base for his compositions. "The field recordings on the album were made very locally this time, for obvious reasons," he says. Welcome to the sonic landscape of the UK's East Anglia. "Judith Avenue," the opening track, is a great example of how Saville evolved his perspective on the sounds of nature: "It is a residential street, fading into a scrubby, wild landscape. There, I made a recording of nightingales at dusk. Such romantic birds! The males fly here from Africa a couple of weeks ahead of the females. They find a good territory, and at dusk, when all the other birds are going quiet, they start to sing to tempt the females down from their migratory flight paths. This has happened for thousands of years. However, the patch of ground where I made the recordings is earmarked for development and I don't suppose it'll happen there again. The recordings therefore become part of the history of that place, the lore." Recording the sounds of nature and enriching them with electronic sorcery, Saville is not only a documenting preservationist; he also translates these recordings into meaningful musical miniatures. Building on the soundscapes that marked his previous LP Build A Diorama, Lore is dominated by both open-hearted melancholy and more upbeat rhythms. But even when the music sounds quirky and loose, there is always deeper meaning. The album is characterized by an ever-present melancholy about the threatening loss of living spaces, and a celebration of their beauty. This simultaneity turns the tracks into existential meditations about our human habitat. Includes printed inner sleeves; includes download code; edition of 300.

$17.50 IN STOCK

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled Eidetic, a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. Eidetic is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride. Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. 2021 full-length Bloodless found Meluch deep in droning decay, expressive yet wordless. With Eidetic, he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix -- a warm and calming tenor, a harmonic coo more than a whisper -- ever-observant and actively processing. To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. Eidetic opens in a swirl of familiar haze; "Margaret Murie" eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with "Crux," a tender piece written about finding new motivations in a new city. Meluch's prose shines on the swiftly-moving "Nameless," inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors. Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest "Thursday Night" catches his mind overly active and too stoned, riffing on black holes and songwriting itself. "Halve" references the splitting of the atom, what he considers "the beginning of man's downfall," and the unrealized initiative proposed by the US government that would have created "nuclear refuges" in its national parks. Meluch's loved ones weave throughout; "Tet" holds his father's experience in Vietnam and its lasting effects. "Lillian Isola" touches on his maternal grandmother's spinal curvature, and "Pastel Dust" navigates the wake of his cat, who died on New Year's Eve 2020.

$16.00 IN STOCK

Live recordings from the band's studio, the Alien Research Center, during lockdown times in 2021. The Notwist, centered around the core trio of Cico Beck and the Acher brothers Markus and Micha, usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for Vertigo Days - Live from Alien Research Center, a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album Vertigo Days (MORR 180CD/LP/SUN-LP) in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, krautrock-esque collage. Vertigo Days was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band's sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages. All of that was missing when the band retreated to their studio -- dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center -- to further explore the possibilities of the source material. Vertigo Days - Live from Alien Research Center is at once a snapshot of a certain moment in the band's history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the Vertigo Days studio recordings while also serving as an inspiration for upcoming live shows. As with the studio album, the artwork for Vertigo Days - Live from Alien Research Center features photographs by Japanese artist Lieko Shiga, taken in the '00s.

$28.50 IN STOCK

LP version. Includes printed inner sleeve and download code. American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled Eidetic, a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. Eidetic is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride. Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. 2021 full-length Bloodless found Meluch deep in droning decay, expressive yet wordless. With Eidetic, he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix -- a warm and calming tenor, a harmonic coo more than a whisper -- ever-observant and actively processing. To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. Eidetic opens in a swirl of familiar haze; "Margaret Murie" eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with "Crux," a tender piece written about finding new motivations in a new city. Meluch's prose shines on the swiftly-moving "Nameless," inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors. Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest "Thursday Night" catches his mind overly active and too stoned, riffing on black holes and songwriting itself. "Halve" references the splitting of the atom, what he considers "the beginning of man's downfall," and the unrealized initiative proposed by the US government that would have created "nuclear refuges" in its national parks. Meluch's loved ones weave throughout; "Tet" holds his father's experience in Vietnam and its lasting effects. "Lillian Isola" touches on his maternal grandmother's spinal curvature, and "Pastel Dust" navigates the wake of his cat, who died on New Year's Eve 2020.

$39.50 IN STOCK

Transparent yellow, three-sided vinyl, heavy wide-spine outer sleeve, printed inners. 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.

$25.00 IN STOCK

LP version. Includes printed inner sleeve; includes download code. Live recordings from the band's studio, the Alien Research Center, during lockdown times in 2021. The Notwist, centered around the core trio of Cico Beck and the Acher brothers Markus and Micha, usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for Vertigo Days - Live from Alien Research Center, a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album Vertigo Days (MORR 180CD/LP/SUN-LP) in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, krautrock-esque collage. Vertigo Days was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band's sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages. All of that was missing when the band retreated to their studio -- dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center -- to further explore the possibilities of the source material. Vertigo Days - Live from Alien Research Center is at once a snapshot of a certain moment in the band's history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the Vertigo Days studio recordings while also serving as an inspiration for upcoming live shows. As with the studio album, the artwork for Vertigo Days - Live from Alien Research Center features photographs by Japanese artist Lieko Shiga, taken in the '00s.

$25.00 LOW STOCK LEVEL

Reissue of the third album by Swedish trio Tape, originally released in 2005. First time on vinyl. On, Rideau, made their great leap forward. Released on Häpna, following two albums of pastoral folk meets electronica, Rideau saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (Pluramon). On Rideau, Tape's music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, Rideau has a new home with Morr Music. Rideau sits neatly with Morr Music's catalog yet it feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape's sometime collaborators, Tenniscoats. While they had previously recorded their albums in rural Sweden, for Rideau, the trio decamped to Schmickler's Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. You can hear Schmickler's influence at an almost molecular level -- Tape had never sounded quite so graceful and assured with their compositions. Rideau represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of "Sunrefrain", and the insistent piano arpeggio of "A Spire", which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song's stretched canvas. Reflecting on Tape's essence, Schmickler isolates their "uncompromised ethos, caring about small details." This echoes most radically through the twilight environment of "Long Lost Engine", which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song's surface. It's followed by the reissue's extra track, Japanese electronica quartet Minamo's remix of "Roulette", a connection that would lead to a Minamo/Tape collaborative album, Birds Of A Feather (2007). For now, though, here is the gorgeous, penumbral abstraction of Rideau, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world. Includes printed inner and download code; edition of 500.

$25.00 IN STOCK

Fourth album by Stockholm based multi-instrumentalist Mikko Singh, aka Haleiwa. Hallway Waverider is Mikko Singh's second album for Morr Music under his Haleiwa moniker. Blending the washed-out aesthetics of dream pop with a lo-fi take on modern psychedelia, it is a fuzzy record in more than one sense. The ten songs see the multi-instrumentalist explore the sonic idiosyncrasies of analog recording equipment while also expressing a self-assured statement by a musician who has carved out a niche for himself and feels perfectly at home in it. After exploring the affordances of vintage equipment for 2019's Cloud Formations album (MORR 167CD/LP), Singh worked with a Tascam 244 4-track cassette recorder and Tascam 388 8-track reel-to-reel recorder to transform the sounds of his vintage synthesizers, bass, the occasional guitar part, and drums supplied by Svante Karlsson for Hallway Waverider. By experimenting extensively with the machines' unique sonic qualities and constantly reworking the pieces in regards to their sound signature over the course of two years, Singh has found the perfect equilibrium of electronic music and lo-fi aesthetics while navigating with ease through styles like driving surf rock, gritty garage punk and ethereal dream pop. On his new record, he seamlessly integrates these influences into anthemic yet soothing songs. The title of the album refers to Singh's halcyon days as a teenager spent listening to punk music and -- in wintertime -- skateboarding in his own bedroom. The lyrics refer to surfing as a nod to both his own experiences with riding the waves and the music genre that has provided him with inspiration throughout his career as a prolific recording artist with three solo albums under his belt. However, surfing primarily serves as a metaphor for something bigger. Hallway Waverider dedicated to Singh's mother who passed away in 2015. "She made it possible for me to have a good childhood and to be able to do what I love," says the artist. This sense of closure and being at peace with himself is also expressed in lyrics like "A sea stroll. Going slower. Feeling featherlight," expressing a calm that perfectly mirrors the music's steady grooves and welcoming overall feeling. Starting with the upbeat "River Park/Sleeping Pill"; to the almost ambient, synthesizer-heavy "A Bottomless Pit"; or short, punk-inspired and bassline-driven outbursts like "Watered Down" or "Halulu Lake"; to the blissful title track that closes the album, Singh opens up a whole panorama of different moods across a broad variety of musical styles. Includes download code; edition of 300.

$25.00 LOW STOCK LEVEL

LP version. Includes printed inner sleeve, obi, and download code. Japanese indie-pop duo Tenniscoats recorded Papa's Ear in 2012 (MORR 184CD/LP) and Tan-Tan Therapy in 2007, two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians. Released during a prolific phase of collaboration for Tenniscoats -- during the late '00s and early '10s, they would also collaborate with Jad Fair, The Pastels, Secai, and Pastacas -- they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material. Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, Tan-Tan Therapy was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and Live Wanderus (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group's extended musical family. It opens with one of Tenniscoats' signature songs, the pop fantasia of "Baibaba Bimba", with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in "Baibaba Bimba": uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy. From there, Tan-Tan Therapy explores many hues of lustrous blue. "Oetu to kanki no Namoriuta (Given Song of Sob and Joy)" is an aquatic arbor, the musicians' gentle performances growing together like vines and seaweed as Saya's voice swims through the waterway. "Umbarepa!" is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. "Abi and Travel" floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; "Good B.", an extra track originally only available on the Japanese edition of Tan-Tan Therapy, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido. It's a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness. There's an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of "Marui Hifo (Everyone)", which echoes the seaside drift of Bristol post-rock group Crescent, and the following "One Swan Swim", a dreamsong redolent of Robert Wyatt's Rock Bottom (1974).

$16.00 IN STOCK

Japanese indie-pop duo Tenniscoats recorded Papa's Ear in 2012 (MORR 184CD/LP) and Tan-Tan Therapy in 2007, two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians. Released during a prolific phase of collaboration for Tenniscoats -- during the late '00s and early '10s, they would also collaborate with Jad Fair, The Pastels, Secai, and Pastacas -- they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material. Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, Tan-Tan Therapy was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and Live Wanderus (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group's extended musical family. It opens with one of Tenniscoats' signature songs, the pop fantasia of "Baibaba Bimba", with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in "Baibaba Bimba": uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy. From there, Tan-Tan Therapy explores many hues of lustrous blue. "Oetu to kanki no Namoriuta (Given Song of Sob and Joy)" is an aquatic arbor, the musicians' gentle performances growing together like vines and seaweed as Saya's voice swims through the waterway. "Umbarepa!" is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. "Abi and Travel" floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; "Good B.", an extra track originally only available on the Japanese edition of Tan-Tan Therapy, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido. It's a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness. There's an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of "Marui Hifo (Everyone)", which echoes the seaside drift of Bristol post-rock group Crescent, and the following "One Swan Swim", a dreamsong redolent of Robert Wyatt's Rock Bottom (1974). LP version marks the first time this release has appeared on vinyl; includes printed inner sleeves, obi, and download code.

$33.00 IN STOCK

Double LP version. Includes printed inners and download code; edition of 500. Music for Shared Rooms is B. Fleischmann's eleventh solo album and his first since 2018. It is also not an album, or at least not in the conventional sense of the word. These 16 instrumental pieces provide a kaleidoscopic glimpse of a forward-thinking musician at home in many different musical worlds, including experimental and abstract music, pop, and more classically-minded compositional forms. These pieces were culled from an archive of roughly 600 compositions for theatre pieces and films written throughout the past twelve years. The Österreichischer Filmpreis-awarded composer, however, aimed for more than simply documenting his extensive work in and with different media. To do so, he edited and re-mixed the individual recordings for this release, taking them out of their contexts and reworking them for an audience who can experience them in a different setting. Music for Shared Rooms makes it possible for its listeners to engage with the sounds and to fill the spaces they open up with their own imagination. Roughly speaking, music for theater or film can serve two functions: it either takes the lead, or underscores what is happening on stage or screen. The marvelous thing about these pieces is that they manage to do both. Fleischmann's work as a prolific producer has always drawn on contrasts, at times combining pop sentiment with rigid experimentation, the seemingly naive with the intricate and complex. This approach also marks the tracks collected here: bringing together acoustic elements and electronic sounds, at times working with conventional structures but always de- and re-contextualizing them, Fleischmann constructs a vivid dramaturgy out of discrete singular compositions, letting them interact across the record. A dramaturgical interconnectedness of varied musical materials is the thread that runs through Music for Shared Rooms. The differences between the pieces may be striking, but the progression from one to the other is subtle. It goes on like this through different moods and tempos. All these pieces create distinct situations through the juxtaposition of diverse musical elements, but are also bound together by a single vision. Writing music for theatre pieces or film requires a composer and his pieces to engage with people and their movements in space, which is exactly what Fleischmann offers on this record.

$15.50 IN STOCK

Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut album Liminality she paints melody in soft tones, whispering secrets to navigate feelings of loss. Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist's own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualization of wandering lost between them. Defined as "the threshold separating one space from another," Liminality moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. Flourishing from a preferred position of solitude, Liminality sees Blomqvist's vision radiate with intensity from her home-based studio in Neukölln -- a small, two-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends, and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher, and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the "Stairway to Heaven" intro. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. She performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen. With the passing of time, she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first Yearnings EP. Now writing whenever she returns to Sweden, within the calm and stillness of her family's mountainside cabin, her skillfully constructed arrangements summon the comforting atmosphere of home. Liminality is the kind of record that rewards attention. Give this album your time, it will give you its soul.

$25.00 IN STOCK

LP version. Includes printed inner sleeve and download code. Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut album Liminality she paints melody in soft tones, whispering secrets to navigate feelings of loss. Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist's own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualization of wandering lost between them. Defined as "the threshold separating one space from another," Liminality moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. Flourishing from a preferred position of solitude, Liminality sees Blomqvist's vision radiate with intensity from her home-based studio in Neukölln -- a small, two-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends, and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher, and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the "Stairway to Heaven" intro. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. She performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen. With the passing of time, she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first Yearnings EP. Now writing whenever she returns to Sweden, within the calm and stillness of her family's mountainside cabin, her skillfully constructed arrangements summon the comforting atmosphere of home. Liminality is the kind of record that rewards attention. Give this album your time, it will give you its soul.

$15.50 IN STOCK

Music for Shared Rooms is B. Fleischmann's eleventh solo album and his first since 2018. It is also not an album, or at least not in the conventional sense of the word. These 16 instrumental pieces provide a kaleidoscopic glimpse of a forward-thinking musician at home in many different musical worlds, including experimental and abstract music, pop, and more classically-minded compositional forms. These pieces were culled from an archive of roughly 600 compositions for theatre pieces and films written throughout the past twelve years. The Österreichischer Filmpreis-awarded composer, however, aimed for more than simply documenting his extensive work in and with different media. To do so, he edited and re-mixed the individual recordings for this release, taking them out of their contexts and reworking them for an audience who can experience them in a different setting. Music for Shared Rooms makes it possible for its listeners to engage with the sounds and to fill the spaces they open up with their own imagination. Roughly speaking, music for theater or film can serve two functions: it either takes the lead, or underscores what is happening on stage or screen. The marvelous thing about these pieces is that they manage to do both. Fleischmann's work as a prolific producer has always drawn on contrasts, at times combining pop sentiment with rigid experimentation, the seemingly naive with the intricate and complex. This approach also marks the tracks collected here: bringing together acoustic elements and electronic sounds, at times working with conventional structures but always de- and re-contextualizing them, Fleischmann constructs a vivid dramaturgy out of discrete singular compositions, letting them interact across the record. A dramaturgical interconnectedness of varied musical materials is the thread that runs through Music for Shared Rooms. The differences between the pieces may be striking, but the progression from one to the other is subtle. It goes on like this through different moods and tempos. All these pieces create distinct situations through the juxtaposition of diverse musical elements, but are also bound together by a single vision. Writing music for theatre pieces or film requires a composer and his pieces to engage with people and their movements in space, which is exactly what Fleischmann offers on this record.