Morewine Album Release + Alvy Low, Caity Fisher, Bobbito Pickles
Coral Plaza (8 pm)
By Ellen Reade
Morewine’s new full-length album, Privacy, took two years to finish. Recording started in December 2016 and did not end until February 2019. With nearly four years between Privacy and the Old Dust EP, Morewine reappears from its dormancy with nine new tracks and a revamped sound.
Recording was a process of experimentation and re-tracking—the album is full of happy accidents because of it. Random combinations of tone and effects pedals produced one off sounds, never to be recreated. Louis is not so “religious about understanding [his] pedals,” so the final product wasn’t necessarily what he had initially envisioned.
“I wouldn’t even say I got the exact sounds I wanted, I would just play around until I got the sounds I liked,” says guitarist and vocalist Mathew Louis.
Unbound by genre, Privacy shifts away from the bands familiar jangly indie sound and utilizes a wider set of influences—but still remains distinctly Morewine. Every track has its own approach—no two tracks sound or emote the exact same way.
While Louis identifies the sound as “just pop music basically,” the album dives deep into shoegaze, psych, dream pop, and indie rock—held together by unforgettable pop hooks.
Louis’s influences range from Blood Orange, to The Cars, to Menomena—who Louis partially credits for his exploration into diverse sounds and genres on Privacy.
“I get bored really easily,” Louis says “when things get really same-y I get tired of it, so I didn’t want to write something that was really same-y.”
A change in guitars is the root of the sonic shift—switching to a telecaster with humbuckers allowed Louis to “still write songs in the same vein but … just sound fundamentally different.” The album title, Privacy, reflects Louis’s personal state while writing the album.
“The album is basically me dealing with my own private thoughts and like, struggles over the past few years” Louis says.
These private thoughts and struggles partially contributed to the delay on Privacy’s completion.
The two year ordeal of recording, re-recording, and experimenting with effects pedals had to come to an end, so imperfections, off-pitch vocals, and “weird timing” accidents remain on the album.
“I really thought about taking some of the sketchy stuff out,” Louis says, “but I feel like it kinda represents my state of mind while it was all being written.”
A quick disclaimer on the Bandcamp reads “sorry about the sketchy parts,”, but there is nothing to be sorry for. These ‘sketchy parts’ don’t take away from the album—instead they contribute to the genuine individualism of Privacy.
“There’s a shakiness to it that really defined that period of my life,” Louis says, “I’m not getting rid of it, I’m just gonna leave it right there for everyone to see.”
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