Reykjavík Grapevine - 01.06.2007, Síða 12

B6_RVK_GV_INFO_ISSUE 07_007_INTERVIEW/MUSIC
The Berlin based independent music label, Morr
Music, known for its quality electronic and
dreamy indiepop releases is highly influential
in the international music world. Having previ-
ously released artists such as The Notwist, Lali
Puna, Styrofoam, B. Fleischmann, Phonem, Ms.
John Soda; they have now turned their atten-
tion to Icelandic bands Benni Hemm Hemm
and Seabear.
The man behind the label is Thomas Morr, a
Hamelin native who in his late twenties resettled
in Berlin to realise a long awaited dream and
established his own record label. In 1999 the
first Morr album was released, Poploops For
Breakfast by Austrian electro musician B. Fleis-
chmann. Today the label boasts 75 releases from
at least 24 artists plus some 25 more releases
on their sister labels Shake and Anost.
When looking for new artists and musical
talents, Thomas Morr says that for the most
part he’s searching for something he likes and
doesn’t want to be caught up in following
trends: “I guess I know very well who I do
not need and that’s a good point to start” he
explains.
Asked how he would characterize the Morr
artists, Thomas says that the label has been
changing ever since the beginning, so the art-
ists that they have added to their roster differ
as well: “Just as the person behind the music,
you’re working in your microcosms and even
all small changes seem to be relevant. I guess
we never made a secret about where we come
from and I guess some common roots won’t
harm. Usually I need to feel that, beside all the
problems that are in front of us, the artists are
going to be partners who are willing to work
through that challenge too. As that’s what it
is these days when you run a label, you don’t
have all the answers in place anymore and you
have to question everything permanently. Some
deep certainty about people helps a lot.”
Striking Artwork
I ask Morr whether he expected this kind of
success when he founded the label:
“When we started we had tried to create
some kind of a label profile which was immedi-
ately communicated via artwork and a specific
electronic sound. We were lucky that the genre
names electronica and indietronic did not ex-
ist by that time. When these names became
common, quite some people said that the label
genre was defining and the label name was
easily promoted alongside that genre. I think
we’ve benefited from the timing. […] When
I started I was lucky to work with artists that
had found their own sound already. Just think
about B. Fleischmann, Lali Puna and Isan. But
when looking back it’s been hard work and the
success could not have been expected.”
Today, you must have a stack of demos
from artists eager to grab your attention. Do
you have time to listen to them all?
“I do, sometimes just not more than 10
seconds, but as I’ve said, I know what I do not
need.”
The Morr artwork is an important part of
the label and has made its album releases easily
recognizable in the record shops. Designer Jan
Kruse has managed to create a unique look
that stands out and sort of defines the label.
Was this the intention from the beginning and
how important is it to you to have such a strong
look for the label?
“Musically I felt mostly inspired by Wurlitzer
Jukebox in the beginning. I liked the idea of
“somehow” doing a 7” label in an album
format, where this whole genre was already
existing for some years. […] Within a couple
of months I realised that it’s more challenging
to work with artists on a regular basis and
the concept was adjusted with the second B.
Fleischmann release. Our artwork’s aesthetics
remained the same and labels such as 4AD,
Touch and Mego, influenced us. Jan and I liked
the idea of having a strong visual identity that
was changed very often over the past year. Jan
just lectured about that at the typo fair in Berlin.
Honestly I think that some of the artists might
underestimate how many records have been
sold because Jan did the cover. We even usu-
ally get negative feedback from our distributors
whenever he doesn’t. Hopefully he’s not taking
over the label,” Morr adds.
Morr Label Nights in Iceland
Morr Music has been connected with the Icelan-
dic music scene for quite some time. The label
re-released múm’s album Yesterday Was Dra-
matic, Today is OK in 2005 after the album had
been unavailable for far too many years. Since
then, the label has signed two Icelandic bands,
first Benni Hemm Hemm and most recently the
group Seabear which released its debut, The
Ghost That Carried Us Away, at Morr Music.
Thomas explains that the friendship between
Morr and Iceland began immediately after he
had listened to the aforementioned first múm
album, after which he contacted the group and
praised their music.
“They moved to Berlin and we met on a
regular basis and I just liked them even more.
That’s the short version. Örvar introduced me
to Benni Hemm Hemm and Borko and Seabear
I ‘discovered’ via a mutual French and very nice
friend,” he adds.
I ask what it was that fascinated him about
these musicians:
“Of course I like their music as to me there’s
some originality in it. I also seem to like the
people involved,” he says.
Thomas and his Morr friends are planning
two concerts in Iceland this coming week, one
at Græni Hatturinn in Akureyri on June 1 and
one taking place at Iðnó Theatre in Reykjavík on
June 5. The two shows in Iceland are though far
from being the first Morr Music Night organized
by the label and the bands signed often tour
together.
“We try to make it as comfortable as pos-
sible and I definitely prefer to work with nice
people that are not on ego trips. I think it’s
important to keep an eye on that factor, as a
label is after all a fragile structure with interests
that needs to be balanced, like a city football
team,” Thomas adds.
The concerts are supposed to give the au-
dience a good overview as to where the label
stands today, but the show features local acts
Benni Hemm Hemm and Seabear as well as
Berlin based electro post-rock duo Tarwater,
Belgian dance-pop group The Go Find and the
electro duo Isan from the UK. Thomas Morr
along with DJ Apfelblut will keep the crowd
entertained between sets.
It’s worth mentioning that a limited addi-
tion CD, Music for Hairy Scary Monsters, was
released as part of the event and features 10
tracks by the artists performing so concert goers
can warm up for the grand scale event. The CD
is available at the 12 Tónar record shop.

Tickets for the show at the Akureyri Intarnational
Music Festival are available at www.midi.is.
Tickets for the concerts at Iðnó are sold at the 12
Tónar record shop on Skólavörðustígur 15.
Morr Music: One Big Happy Family
Text by Steinunn Jakobsdóttir Photo of Seabear by Sindri
“Honestly I think that
some of the artists might
underestimate how many
records have been sold be-
cause Jan did the cover.
We even usually get neg-
ative feedback from our
distributors whenever he
doesn’t.”
RVK_GV_INFO_ISSUE 07_007_YOGA_B7
A new yoga class has recently started in downtown
Reykjavík and the best thing is that it doesn’t cost you
your month’s salary. GhettoYoga founder and instruc-
tor Bergsteinn Jónsson takes pride in not charging for
his classes.
“It’s part of growing as a person,” Jónsson said. “I
never wanted to make a career out of it. I just wanted
to do it for me,” he added.
According to Jónsson, the story behind starting
Ghetto Yoga is neither interesting nor romantic. “My
wife’s friend is a dentist and she wanted to enlarge her
practice and had some free space,” he explained.
Jónsson emphasises that his classes are available
to everyone. “The ideological message is to personally
illustrate that you can be an accountant and a yogi
– that anyone can lead a yogic lifestyle,” said Jónsson,
whose day job sees him working at the UNICEF office
in Reykjavík.
Yoga has taken the world by storm in recent years.
Made fashionable by stars such as Sting and Madonna,
yoga classes are today offered at most gyms around the
world.
Jónsson says that Ghetto Yoga’s no-charge policy is
not the only way in which his classes differ from others.
The name Ghetto Yoga illustrates his philosophy.
“It’s a grassroots kind of thing [...] the name comes
from the fact that the classes are held in Hlemmur, being
the ghetto of Reykjavík, and also that yoga should be as
fitting in a ghetto as in the high street,” he explained.
“Sometimes places that teach yoga are too sanctimo-
nious about it,” he added.
Jónsson, who has been teaching yoga for around six
years and practicing for 13 years, teaches Hatha Yoga
for beginners and says the poses taught are specifically
aimed at preparing the mind and body for “potent,
tantric style meditation.”
The word Hatha derives from the Sanskrit words Ha
and Tha meaning sun and moon and follows the same
concept as yin-yang, balancing mind and body through
physical poses, controlled breathing, and the calming
of the mind through relaxation in pursuit of enlighten-
ment. Hatha Yoga differs from other forms of yoga in
that it focuses on simple poses that flow from one to
the other at a comfortable pace as opposed to being
geared towards strength and stamina.
The creation of yoga can be traced back as far as
5000 years ago in India.
Today yoga is practiced as much for its physical benefits
as for its original purpose of achieving inner peace.
Ghetto Yoga classes have been attracting a steady
attendance but anyone interested in joining can simply
turn up to one of the scheduled times. The classes are
open to everyone – including children.
Hverfisgata 105, 2H Hlemmur, 101 Reykjavík.
Wednesday 18:00, Saturday 13:00
Ghetto Yoga
Text by Zoë Robert Photo by Gulli
www.bluelagoon.com
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For booking and
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