Under his Mun Sing alias, Harry Wright (also of Giant Swan renown) crafts striking, fractured electronics warping pop and club culture with mischievous playfulness and visceral ingenuity. And on debut solo full-length Inflatable Gravestone, Wright uses this soundworld and approach to process grief and loss in all its profound emotive complexity.
Ever the creative maverick, here Mun Sing creates “a mix that sounds like you’re being flung into loads of different afterlifes and then returned to Earth.” Describing the mix further, Wright adds, “there are aspects of reflection and chaos along the way, before eventually descending into madness and then finally a calm acceptance.”
“I wanted to have moments of familiarity (like The Killers, Debussy etc) that aim to keep you grounded on the journey, yet have them sound warped and far away, not quite how you remember,” the Bristol-based artist continues on the concept behind the mix. “Like trying to visualise a clock in a dream.”
Here, Wright also delves deeper into the more reflective moments on the album: “This mix was also a nice way to give some context to the more introspective tracks on Inflatable Gravestone,” he concludes, “and a chance to include some artists that meant a lot to me and my family growing up, as well as some very talented friends of mine.” Without further ado, press play for a surreal, out-of-body journey and back courtesy of Mun Sing.
Crack Mix 519: Mun Sing
Crack Mix 519: Mun Sing
Under his Mun Sing alias, Harry Wright (also of Giant Swan renown) crafts striking, fractured electronics warping pop and club culture with mischievous playfulness and visceral ingenuity. And on debut solo full-length Inflatable Gravestone, Wright uses this soundworld and approach to process grief and loss in all its profound emotive complexity.
Ever the creative maverick, here Mun Sing creates “a mix that sounds like you’re being flung into loads of different afterlifes and then returned to Earth.” Describing the mix further, Wright adds, “there are aspects of reflection and chaos along the way, before eventually descending into madness and then finally a calm acceptance.”
“I wanted to have moments of familiarity (like The Killers, Debussy etc) that aim to keep you grounded on the journey, yet have them sound warped and far away, not quite how you remember,” the Bristol-based artist continues on the concept behind the mix. “Like trying to visualise a clock in a dream.”
Here, Wright also delves deeper into the more reflective moments on the album: “This mix was also a nice way to give some context to the more introspective tracks on Inflatable Gravestone,” he concludes, “and a chance to include some artists that meant a lot to me and my family growing up, as well as some very talented friends of mine.” Without further ado, press play for a surreal, out-of-body journey and back courtesy of Mun Sing.
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