During last New Year’s Eve celebrations, Apple Music brought some illustrious figures from today’s electronic scene to the London nightspot, The Cause. Among the line-up of guests was Bjork, renowned for her endless curiosity in keeping up with the most avant-garde trends of the moment. In an incisive and penetrating set, Mun Sing stood out by appearing more than once in the Icelandic singer’s musical selection. The two had already shared a stage in a couple of performances, making this bond even more solid. Regardless of the media hype resulting from these situations, the new The Frolic EP was already a coveted fruit of the year to come. From his collaborations with Iceboy Violet and Gaika, to the tectonic energy of his duo Giant Swan, his solo career had long since become fertile and one he couldn’t wait to expand. A natural cause-and-effect relationship.
It was in the struggle of mourning that Harry Wright, the Bristol producer’s real identity, designed a complex and disconcerting album – in its creative origin and sonic expression. Inflatable Gravestone stems from personal tragedy and goes through an inevitable metaphysical – and material – quest, recovering his father’s writings and recordings and thus drawing sketches for the record. The promotional video for Waiting in the car capsulizes the labyrinth of emotions and lends a remarkable visual attribute to the pulsating material that can be heard. And what you hear, not just specifically on this album, but in Mun Sing’s approach, is a magnetic attraction to textural and sonic possibilities. Perhaps more than the totality of things, he seeks out the small and large fragments that are part of it.
It’s through his Illegal Data that The Frolic sees the light of day. Adapting the character of Scarecrow from the classic Wizard of Oz, he has been creating concerts of an unusual conceptual nature. Nothing new for someone who seems to want to overturn the conventions and expectations of himself – and all of us.
