Tackling film soundtracks, energetic live performances, and a new EP where he limits himself to the use of analog synthesisers and organic instruments to compose a more delicate balance of sounds, Liam Mour is Germany’s diverse answer to contemporary electronic music. In reflection of our review of the transcendent music video for his single Above, which conveys his feeling of never-ending ambition, we ask Liam about his influences and his roots in electronic music.
Mour’s new EP – also titled Above – was released on April 1st, and features six tracks which fluctuate in feeling and atmosphere, creating a smooth and ambient world of pure escapism. The EP mixes electronic and classic, in tracks such as Blossom which combines the swell of a blooming orchestra with noise sampling of a rainstorm, and in the other single Holding Hands, which focuses on the importance of human affection after the personal distance the pandemic forced between people. His music, although electronic, does not sacrifice the heartfelt warmth of organic music and Liam is here to make that clear.
Liam, you’re Berlin-based, central-Asian raised electronic artist and owner of your imprint Ode to Youth, founded in 2020 after the namesake first single from your upcoming EP. You’re a key resident at the club Funkhaus in Berlin and are known for your energetic sets. When did you begin experimenting with specifically electronic music?
I began experimenting with electronic music at the age of 19 when I moved to Berlin. I was already listening to electronic music before but was more focused on recording band music and improving my instrument skills. I always felt like producing electronic music isn’t challenging - now I know I was wrong.
I’ve seen your music be compared to that of Jon Hopkins’ ambient electronic style and the influences of Rival Consoles, but how would you describe your style?
It’s nice to hear that people compare my music to artists I like to listen to. Of course there is not so much output about me yet so people have to compare. I’d describe my style as a mix of IDM, ambient, garage and house. My tracks represent what’s going on in my head. Sometimes it’s really slow and intangible and sometimes it’s fast and pushy.
Talk to us a little about Funkhaus. It seems to be quite an honour to have a spot there!
Words can’t describe the fascination of Funkhaus so just book a ticket for one of the concerts and make a better picture for yourself. It’ll be worth it.
Certainly, your style has changed over time – your new single Above, from the new EP also titled Above released April 1st, has a more ambient and soft transcendent feel to it than the club-focused songs of your past. I read that in-between your more lively tracks and this current mellow single, you worked on the original motion picture soundtrack for the German film Krass Klassenfahrt. The single Above has been described as fresh off the release of this soundtrack, and I was wondering if working on a soundtrack for film has changed your view and attitude towards your music?
Working on a soundtrack influences your way of producing for sure because you get rid of all these boring song structures. Above definitely is influenced by my recent soundtrack but the soundtrack is also much influenced by my own music so I think it works pretty well together. For me it’s really important not to stick to a specific sound structure and to improve my sound with every track I produce. Otherwise it would become very exhausting to produce the same music every day.
You’ve also cited the pandemic as a major influence in your work in the past – your 2021 EP Dreaming of a Better Place featuring the single When I Look Into Your Eyes, that was a swelling composition reflecting your thoughts in the isolation of the pandemic and pushing your self-confidence and perseverance. Has your attitude changed now that the pandemic is (mostly) over?
For me it doesn’t seem like the pandemic is mostly over. We’re still struggling with it and I think it’ll take much more time and much more humility to get over it. It motivates me a lot that I’m finally allowed to play concerts. I’m really looking forward to a better future full of live shows and festivals but my attitude didn’t change - we still have to deal with this major challenge.
