Múm
Finally We Are No One

Recipe: take the sparkling pop of Björk, the eclectic dance of Gus Gus, and the evocative atmospheres of Sigur Ròs.
Add the extravagance of the latest Radiohead and mix it all with Tortoise-style interference.
Put in the blender, hit on, and enjoy the MùM.
That's two guys and two twin sisters from Iceland. The same Iceland whose music scene experienced a surge of creativity after the "pioneer" Björk embarked on a solo career, following her time with the Sugarcubes. And behind her, indeed, Gus Gus, Sigur Ròs, Emiliana Torrini, Quarashi...

Not least the MùM, who already boast two LPs and a couple of EPs, even though they are only now beginning to be appreciated on the continent. And more than ever now that "Finally We Are No One," the MùM confirm the approach already glimpsed in "Yesterday was Dramatic, Today is ok": minimalist electronics. Be careful, not minimal, because MùM will not surprise you with sounds sprung from some unusual electronic gadget, much less with imperceptible rhythms the product of icy drum machines or cold synthesizers.

They will surprise you with balance and with togetherness. With the perfect synthesis of dream and magic. Suggestive emotions will envelop you from the single "Green Grass of Tunnel," where a childlike voice will lay you down on a sound carpet and lead you into a harmony made of guitar arpeggios, xylophone, and piano.

The melancholic atmosphere of “We Have a Map of the Piano” will pamper you in an unreal and unexplored world. Enjoy the electronic expanse towards silence in “K/Half Noise,” before slipping into the expanded psychedelia of the 11 minutes of “The Land Between Solar Systems.”

And if you manage to find “Loksins erum við engin,” that is, the same LP sung in their mother tongue, don’t miss it; you will be amazed at how Icelandic, seemingly so hostile, can become a soothing lullaby.

Personally, I think they are "ahead" of the common concept of electronics. I certainly won’t be surprised if we hear more about them.