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A splendidly dizzying array of eclectic pop exhibits on Pearlescent Darkish, the debut album from Oslo-based songwriter and producer Mörmaid. The venture of Dwell Sollid impresses with a variety of sounds, from the spacious introspection of the opening observe to hyper-pop dazzling like “Moist Summer time” and the subdued atmospherics inside “Bury All.” Electronica, free jazz, and club-friendly bustling mix inside an approachable pop-friendly mindset, embracing hooks inside artistic atmospheric assemblies.
Mörmaid describes the album as “about duality, ambivalence, doubt and worry.” She continues: “It spans from particular person and relational experiences to extra conceptual reflections. I discover the themes in some ways, each within the music itself, the manufacturing, the lyrics and the art work. For a very long time I’ve been fascinated with artwork that’s lovely and charming and on the similar time has a distorted and disturbing high quality. That is one thing I hope comes throughout all through the album.”
“Sea Girl” kicks off the album with atmospheric immersion; the vocals painting an awakening on the shore, in a state of craving and awaiting “for him to return.” An illuminated whirring takes maintain alongside the ghostly vocal lushness, which escalates regularly and in spine-chilling type. Spacey synths and string-laden grandiosity converge through the breathtaking conclusion, the place the vocals are absent in favor of this affecting instrumentation. They re-emerge in charismatic, danceable type on the following “Moist Summer time,” exuding a hyper-pop spirit in its stutter-y vocal parts, brisk rhythms, and sugar-sweet vocal expression; the bass-y depth upon the “am I simply one other mirror?” line is particularly impactful. “Moist Summer time” is an infectious, standout manufacturing, with shades of SOPHIE.
A delectably unsettling tonal shift exhibits on “Ehh,” in atmospheric distinction to the opener’s preliminary lushness and the caffeinated pop of “Moist Summer time.” A caressing, dreamier vocal presence ultimately emerges on “Ehh” with glimmering engrossment, as robotic-feeling vocal unease fascinates through the “off my toes,” drive. It’s rapidly obvious on Pearlescent Darkish that Mörmaid possesses a capability to take care of a persistently melodic intrigue, all inside various tonal spectrums — from dreamy pop slow-burns to hyper-active hookiness and extra ominous haunts.
The throbbing bass depth inside “I’m Making an attempt” melds with vocals aspiring to “work via the ache,” as the general manufacturing intoxicates; that is one other showcase in replay-inducing, climactic manufacturing — right here reminding fondly of a extra debonair twist on Röyksopp & Robyn collaborations; “Child” struts a equally pleasurable aesthetical familiarity. Elsewhere, the shifty percussive parts and sporadic synth effervescence construct a extra understated pop allure on “Bury All,” one other testomony to Mörmaid’s savvy manufacturing and dynamic vocal implementations.
“Toomuchalready” can be spectacular in its dichotomy between serenely spacey electro-pop and ominous buzzing, constructing a climactic attract into an exciting finale with pulsating synth envelopment, haunting vocal layers, and pounding percussion; the manufacturing is akin favorably to early Grimes. “Manicfest” concludes the discharge with a futuristic aptitude, transferring from otherworldly vocal expressions right into a drum-and-bass invigoration inside dreamily serene textures; it’s a becoming, satiating send-off to an album that completely succeeds in its creative, tonally dynamic pop sound.
Pearlescent Darkish releases on Might twenty third, through Beat Palace Recordings.
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