Take a trip to memory lane, going through the passages of early electronica freedom and hear this recent goody by Mmöner as if you’d like the early Richard D James work that focused on melody and experimentation then you’ll probably feel over the moon hearing this artist doing something similar in innocent innovation without ever sounding like a copy or something you knew before. Armed with a fine spirit of experimentation this producer colorfully plays out a melodic theme that is at the borders of being pure simple and playful, yet has both toes in the parking spot for geniuses; what a joy it is to hear this refreshing sounding Tǚrquøise Hǻir, it really did make me smile; might it serve your mood any good too?
Mmöner second track has continued this theme of melodic experimentation, and it’s here that it hits me how it all showcases a skill that makes elbows hitting on loosely played keyboards, a bucket full of severely checked effects & sound innovation, effects and a tight dip into constructive controlled glitches could sound so lightweight and unpretentious, while actually being super radical in showcasing a strong personality. It’s as if the artist uses a palette of random melodic keyboard improvisation while being off the Mmöner tits, and then crafts this material into super tight and intelligently interesting funny constructions that are tight, without ever losing their playful roots of drunken lunacy.
The track that is the unfortunate last (as for Goth sakes this style of music could have gone on for hours without a single second of boredom!) takes again this playful constructionism to a new level. This is experimental stuff that is actually still experimental and not afraid to use melodies and joy in its main tools. It’s a bit like listening to a random steel drum in the sun, a young Beethoven trying out a Lo-fi crappy keyboard and throws them in some electric blender to make an interesting tasting smoothy that leaves your ears begging for more Mmöner!