Mormo | Wasting 500 Sounds

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Autechre Lackluster Richard Devine

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Electronic: Down Tempo Electronic: IDM
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Wasting 500 Sounds

by Mormo

Finally, a sound designer who knows how to keep it musical. Tomasz Kaye is a software scholar (he gives lectures on subjects such as “Making beats in Ableton Live”) and master of idiosyncratic IDM along the lines of Monolake, Boards of Canada, early Warp
Genre: Electronic: Down Tempo
Release Date: 

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  song title
artist name
1. I Only Want
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3:11 album only
2. Prumptone
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4:41 album only
3. Gumbler
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3:49 album only
4. Ovengut
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2:14 album only
5. Ming
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5:23 album only
6. Crybaby Owl
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3:04 album only
7. Ringlets
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1:50 album only
8. Team Office
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1:58 album only
9. Vomputer
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5:08 album only
10. Inland Chime
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4:43 album only
11. Comfort in the Sweet Sheet
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2:13 album only
12. Ginsob
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1:37 album only
13. My Promises Aren't Worth Salt
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4:29 album only
14. Red Block
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3:17 album only
15. Wasting 500 Sounds
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2:16 album only
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Album Notes
Mormo presents his debut full-length work with 'Wasting 500 Sounds'. The music combines splintered percussion and idiosyncratic melodies, resulting in a delicately crafted album with amazing attention to the smallest detail. From broken glitchy rhythms to quiet ambient interludes, the music creates a sense of space and progression by focusing on the way sounds interact and evolve. As the music constantly shifts and mutates, exotic forms emerge and take over.


to write a review

Keith Baker

"...The moment you think you have what he's doing in the palm of your hand he'll
On first listen I was nearly ready to just write this album off as a mid to late period Autechre clone with some BOC style analog sounds added in as an attempt to get some more kick out of an old horse. Thankfully further listens showed that there is indeed more to this release than it just being another production heavy IDM record. After all there's so many of those around that we don't really need another one.

While Mormo wears his Autechre influence firmly stamped on his sleeve in glowing neon, he does add his own feel into the mix. Especially when it comes to the melodies. There's something about the slippery way Mormo does melodies that you just can't seem to grasp onto them. The moment you think you have what he's doing in the palm of your hand he'll suddenly throw you a curve-ball like a series of out of key notes or a complete direction change. It's like chasing someone down a maze of tunnels, just as you've nearly caught up to them they dive down a side street you didn't see and you almost have to start again. But thankfully it's an enjoyable chase and not a frustrating one.

When it comes the the rhythm and general sound you can't escape away from that Confield feel with a bit of "Chiastic Slide" in there to add some stability. Mormo undoubtedly does it well though, he is clearly adept at the art of sonic manipulation and microscopic rhythms but as good as it is, you can't help feeling from the rhythmic side that you have heard it all before. However he has a lovely command of grainy ambiences and sweet almost uncontrolled basses.

I enjoyed this album the most when I stopped analyzing it and just started listening to it. Letting it flow over me and not trying to grasp a melody or a style. As I said above, the melodies try to escape away from you but I feel that this is intentional as if you're not meant to get the melodies and are supposed to take every individual little change by itself, as your unconscious mind does when it simply floats over you. The other thing you get from this as well when you just listen is you almost start to feel some of the artists origins coming through to you. As if the record has somehow managed to capture some of the Greek sunshine in-between the notes and ambiences.

All in all Wasting 500 Sounds is a very well executed album with expression that you can allow yourself to disappear into. However the fact that it feels very derivative at first may put some listeners off if they're unwilling to put the effort in.


Das griechische Label hat es sich wohl mit diesem Album zum Ziel gesetzt, die Welt der zerbröselten Beats und melodisch verklärten Soundeffekte, für die z.B. Rephlex einmal stand, nicht einfach so aufzugeben, sondern mit einem Monster an guter Laune und Vielseitigkeit in Perfektion wieder aufleben zu lassen. Glitch, eigentlich eine gute Erfindung. Und so spielerisch und ausgelassen definitiv immer noch etwas, das einen um den Verstand bringen kann. Mich jedenfalls. Und das nicht nur, weil es technisch so funky ist.


A new star has risen in IDM territory.
A new star has risen in IDM territory. Papergoose Records already released his debut EP entitled A mouth full of small barks, but now it's time for Low Impedance Recordings to continue this musical career of Tomasz Kaye with a lovely glitch album. The broken rhythms and tiny sound particles have been thrown in the right order, due to which rhythmic structures appear with a stubborn character. Just great!


Wasting 500 Sounds by Mormo (Holland-based Tomasz Kaye) offers 50 minutes of razor-sharp glitch, splintered noises, and fractured rhythms in the grand Merck tradition. Calling to mind artists like Fünkstorung and Machine Drum, tracks like “I Only Want” and “Prumptone” weave skeletal arcade melodies, bass throbs, broken funk beats, and writhing showers of noise into three-minute vignettes. Intermittent ambient episodes and galaxial soundscapes (“Gumbler”) add variety though also slow the album's momentum a bit too much when the balance shifts too heavily in their favour (“Ming,” “Crybaby Owl”). Kaye's clearly a solid practitioner of the electronic beatphonics genre but, over the course of the album, one starts to wish he'd focus his talents more on tightly-focused machine-funk like “Inland Chime” and “Ginsob” and less on loose-limbed soundscaping sprawl. It's not 500 sounds that are wasted by Mormo but rather the opportunity to make the strongest impression possible.

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I’ll admit right away, I didn’t count how many sounds are being wasted away by Mormo. The idiosyncratic distorted idm approach of Mormo’s aka Tomasz Kaye’s electronica music helped me endure through several lonesome nights of urban darkness. I felt like a creative industry nomad staring into the dark and rainy night waiting for the light of life to shine in, but the atmospherical coldness and distancing of Mormo’s music by way of paradox intervention made the hours easier and more warm and laid back. Music like that has to work on glitches, breakbeats, radically ever-changing rhtyhm patterns and melodies hacked so into post modernism they seem like single sparks of tones rather than a continuous line. Because our lives have turned away from continuity and towards a constantly rising amount of chaos and complexity.

According to the principle of entropy, somebody else’s life has to become simpler and easier to be controlled for every step my life takes loosing control and adding layers of complexity and new problems. And it should also work vice versa. If that would be true and also measurable, it would change our lives around completely. We would have to refrain from solving our problems, because it would mean heaping problems on somebody else for no reason at all. And it would mean that as soon as something problematic happens to us, we can go out and find the culprit even if we never even heard of him and his acts have nothing to do with us directly, except for the universe striving for balance. However, it would mean getting to know a lot of new people and quarreling with them, which would lead to more people finding new problems and would end up in a hundred percent chaotic war situation with everyone against everyone else at the same time. Hopefully music like Mormo’s can take some pressure off.

“wasting 500 sounds” doesn’t seem too special at the beginning, but it grows with time. The fifteen tracks on the CD shift into one another and from the mastering and production, especially the cut off and jumping structures of most sounds it is hard to say when one track starts and another one ends. It is usually easy to guess when you are well in a new track, though. You’ll best find your way through this record by keeping track if the various miniscule elements and not the big picture. The helicopter view of this music is like an english farmside landscape with hundreds of small patches of different fields, and only those who have grown up in this area and lived there for the bigger part of their grown up life find their way around and now which patch is whose.

Chaos and order mingle without losing their central features inside the mix of percussion patterns and keyboard melodies. Especially through the middle part of the record, there are a lot of parts where the drum-programming seems almost random but starts to make sense by the addition of various kinds of sound colours and layers that spread over the blistering tracks. “Ming”, “Ringlets” and “Vomputer” are especially performative examples.Mormo might not add a whole new chapter to the book about electronica that Richard James wrote, but it brings a whole new colour into the possible ingredients of this equation. No, a dozen new colours, that range from the cool breeze knocking your feet when spring goes away again and the weather gets colder again in the springtime to a blistering and crackling fire that warms your frontside and leaves your back cold. If Kaye had to victimes not more than 500 different sounds for this, then it is more than okay. That is a worthy deal.