moar_catalog

TOKAFI (June 2008)

A quirky dance of the elements: Everything that makes the world of
experimental music such a wonderful place. Everybody agrees that buying
your vegetables seasonally is the right thing to do. So why is this wisdom
never applied to music? “Untree” certainly fits the approaching mood of
Summer perfectly, an album which makes you feel all frisky and frolicsome
as the first rays of the sun tingle your face through the open window.

Certainly not the thing to expect from a CD labelled “Avant-garde” in the
press release. On the other hand, there are obvious indications that Andrea
Gabriele, formerly a member of T um' and now fostering Mou, Lips! next to
writing project-based soundtracks for companies like MTV or BMW, will
probably welcome the arrival of the warm season by spinning some Philipp
Glass records rather than roots Reggae.

At least in terms of rhythm, the pulsation principle reigns supreme, from the
declining reed figures of opener “non e colpa mia!” to the quirky dance of
the elements “cosa buena”. Jara Queeto guests on Trumpet, Ivan Solana
joins in on Bass Clarinet and many others add their bits and pieces here and
there, invigorating the airy electronic textures with an organic touch and
occasional Jazz references. Even though there is no information on the
recording procedure, “Untree” often sounds as though it could have been
improvised on the spot.

The only thing one could hold against this theory is the radical precision
Gabriele applies to his creations. Not even once extending beyond the length
of a pop single, his work is marked by the unhurried development of musical
ideas and by clear cuts once the thought has been brought to a conclusion.
William Basinski would stretch a track like “bora” to at least an hour – here,
it ends after barely three minutes.

The above mentioned comments already hint at the stylistic eclecticism to be
found on “Untree”. From acoustic guitar deconstructions, field recording-
infused dronescapes, backwards-loops coated with sugary glitches and
melancholic Ambient to heartwarming scenes of pastoral serenity (“still life
(s) live”), the record has almost everything on offer that makes the world of
accessible experimental music such a wonderful place – when experienced at
the right time.

Most people also agree that you need to consume products locally, in the
country where they were produced. My father, for example, still insists the
only time he really enjoyed a Martini Rosso was on a trip to Italy – the bottle
he brought home never really lived up to that. Here’s the difference with the
music comparison, though: As long as the sun is shining, you can listen to
and cherish “Untree” almost anywhere. (Tobias Fischer)

SMALLFISH (June 2008)

and/OAR offshoot mOAR delivers this very fine work from Mou, Lips! A little
more playful than the releases on the parent label, but absolutely brimming
with personality and melodic strangeness. Edits and chopped up samples
and perky, experimental live instruments collide with classic minimalist styles
and sounds (think 12k, Spekk etc) to make a very satisying album indeed -
almost like a slightly more out-there Sora. Check out all the samples, but
pay particular attention to the 4th one to see what I mean... absolutely
brilliant stuff. (Mike Oliver)

EARLABS (March 2008)

mOAR begins the explorations of and/OAR into complex and neatly
balanced expressions of garden-shed electronica - pristine surfaces mottled
with mildew and sundry glitches, which refract light and color into so many
dazzling directions. Italian act Mou, Lips! (essentially Andrea Gabriele,
formerly of Tu m', with assistance from others such as Stephen Vitiello)
serve as a more than apt guide for the labels first foray into this new land.
However incongruous the elements or surreal their juxtaposition, they inhabit
the same space in these tracks, and their playfully exposed and oddly off-
center yet considered arrangements ensure they are well defined. Many of
these audio collages stand out for their ability to create a sensation that
there is a very real acoustic space in which all of the sounds actually exist,
even if they sound a trifle unreal. Most, if not all, of the essential elements
seem present from the start: "Vit Virt" sees a trellis of sinuous woodwinds
and glistening ribbons of light orchestration bind like glue over a bed of fire-
cracker snaps and warm, soothing tones on "Michaela Aiuta Cenzina",
making for a clash and commingle of mood-colors like a sort of macabre
whimsy. As the album progresses, the ordering changes in deceptively
simple but significant ways, emphasizing now an idyllic flutter of electronics
like a slow dance of morning light, now a jazzy cascade of misty horns
overtop ectoplasmic tendrils, and finally later a crepuscular, cobwebby sound,
shot through with field recordings, lively and incoherent, and full-blooded,
hectic keyboard and glockenspiel lines. These works play very well on the
proximity of ecstasy and eeriness. A strong dual relationship is forged
between them, without either encroaching a great deal on the others
territory. For this reason, the very lightness of touch that affords the tracks a
sort of cutesiness also gives rise to a certain understatement and
intelligence, a certain purpose and sense of possibility that results in
fascinating patterns of overtones, which henceforth engage and otherwise
tease the former in a rather festive manner. All of this makes Untree an
invigorating and attractive set; a fine foundation from which to build.
(Max Schaefer)