The Mix 045: Mun Sing

What was your introduction to music?

I played guitar when I was six years old and then got into piano. I did jazz grades and studied music at school, but it was all very classical-based.

I started as guitarist in an indie rock band called The Naturals that became experimental. Eventually, the other guitarist, the singer, and I formed a side project of that with Giant Swan.

Raucous noise bands like Lightening Bolt and Seattle screamo overlords The Blood Brothers were a significant influence right?!

Giant Swan was named after the last song on the last album by The Blood Brothers.

At what point did you start creating solo music?

I started doing solo stuff in 2017 or 2018 in Iceland. I think I went there trying to be a bit like Bon Iver, without internet or human contact, like, “I’m just going to lock myself away in the wilderness and write this album on the outskirts of Reykjavik in a cabin.” It was an amazing experience, and the landscape was really beautiful. But the album I made never surfaced! It got put to one side, similar to another record I made before ‘Inflatable Gravestone’. Mainly because I got super into The Beach Boys, and after that, everything sounded different. I hated all my music and started again.

Like your bone-rattling debut EP ‘Witness’?

I put out ‘Witness’ on an experimental Mexico City imprint called Infinite Machine (started by a CDMX screamo pioneer) and an EP called ‘Scissor’ with SVBKVLT, an electronic label based in Shanghai. Then, I took some time out before ‘Inflatable Gravestone’ in 2023. Between that, I was touring heavily with Giant Swan, so that took up most of my time. Now that’s put to one side; I’m just focusing on creating music by myself, which feels right.

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At what point did producing come in?

I think I’ve always been a lot more into the idea of producing for other artists, to be honest. When it comes to my own music I have more of an interest in songwriting, pop music and instrumentation. I’m way more about composition than sound design. I think sometimes it’s a bit alienating in dance music, where there are loads of amazing sounds but really crap songwriting.

While the Mun Sing alias evolved and gained traction, you were widely revered for your music as Harry Wright, one half of a DIY techno duo. What’s been your proudest accomplishment within music?

I feel really proud of the work I did with Giant Swan. I miss some parts of it, but there are other parts I really don’t. I’m super grateful for the amazing times I had, but I’m ready for the next chapter now.

I feel really proud of being able to talk about losing my dad in a musical form and then connecting with people that way. I’ve also felt really proud to be receiving support from artists I’ve respected for years, from Björk to Machine Girl.

Why did you start Illegal Data?

I started Illegal Data with my friend Arthur because we thought there was loads of great music in Bristol, but a gap between some of the more fun stuff and music heads pressuring you to have to “know your shit.”

How would you describe an Illegal Data party?

Bristol takes itself very seriously when it comes to music, and we found it funny to poke that. We wanted to inject some fun and chaos into these quite impenetrable, rigid, slightly boring dance music nights but still have great music. We didn’t want to have this stupidly ironic night where we were just playing donk edits of pop songs; it was about us trying to create a dialogue with different kinds of music. We’ve had a lot of young singers come in with their crew; they might be playing their fourth-ever gig, mixing with a pop artist, a grime act, and then we’ll have someone playing a really serious dance music set or a dubstep DJ. I think it helps the artists learn from each other, and I still feel like we’re kind of winging it ourselves. We made these stickers that read “I went to an IIegal Data night, and honestly, it was really disorganised.” That’s still sort of the case for us. There’ll be plenty of times when we’re putting on people we’re really proud about and really excited for but like, “Oh, fuck. We forgot this one cable!”

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You always learn way more from mistakes than if you nailed it the first time. Saying that, ‘Frolic’ is your first self-release on Illegal Data. Did that give you more freedom to create?

It gave me a lot of freedom, but what I didn’t anticipate was that it would also mean twice the amount of work! It started out like, “Yay, I’m my own boss!’ and then quickly turned into “Shit, I’m label manager for my own EP.”

Releasing my own record on Illegal Data was something I was a bit reluctant to do, but people reminded me that “I do co-run a label!” At first, it felt a bit indulgent for me, but then, I thought, actually, that goes with the concept of this record anyway, of indulgence and vulnerability! So I’m trying to own it now. I also wanted to be part of the community we’re trying to create, and I think ‘Frolic’ really fits with the vibe of what the label’s about.

What’s been your biggest obstacle so far?

My biggest obstacles are probably my pride and my ability to ask for help. Being a better communicator would have helped me in a lot of areas. I learned a lot about this during my time in Giant Swan.

Going back to what we said about “the missing cables” or whatever, you have to make mistakes. It’s difficult, but when you do, you’re reminded of gaps in yourself that you didn’t know needed to be filled, and that can be painful at times, especially in an industry that celebrates ego!

Where did you create ‘Frolic’?

In Bristol. I made a lot of it after I stopped doing Giant Swan and lost my dad. I wanted to create something that felt less heavy, something with a melody. I think I felt like I was almost owed that, you know? It’s definitely been quite an intense few years. I felt like I deserved to have some fun.

What music do you play at home?

For this record, I was heavily influenced by English rock band XTC. Their storytelling had this almost folkloric quality that really resonated with me. Their aesthetics, songwriting, and how they built relationships between instruments felt deeply connected to what I love about ’80s music. It was a time when artists were pushing the boundaries of production.

It has this curiosity and playfulness. If you listen to big pop records from that era, the sounds are huge—sometimes overwhelming—some sounds you can’t replicate live. What I loved was how they leaned into that indulgence. It wasn’t just about layering; it was about creating conversations between the instruments. Like, you’d have a guitar riff in one headphone and a single note in the other, creating this constant dialogue. That really excited me.

Do you have a favourite song on Frolic?

I really like the ‘Hypocrite’, which I did with ROOO. Until then, I think a lot of the EP was “Look at all these sounds; everything’s great, indulgent and maximalist!”. I thought it would be nice to have a song that was stripped down, acoustic, and vulnerable. It was a last-minute addition that came together very quickly, but it brought the whole record together.

Which track do you love to perform?

‘Scrolling’. I love playing that; it’s my favourite one to play live. That song’s been around for a while. I worked on it with MX World (the vocalist on ‘Inflatable Gravestone’), and we wrote it maybe six years ago. It was going to go on my last album, but then it didn’t really fit with the vibe. I think its tone and what it’s about fit this record way more, and I just really love working with melody and vocalists.

What is the physical process of becoming the scarecrow? Was it hard to find the right blue? Because it’s a very specific shade.

Yeah, it’s actually Yves Klein blue. I’m kidding. I’ve got Anish Kapoor to create me a personal blue pigment. Okay, seriously, I have very sensitive skin, but that’s about the only specification. It takes me a long time to put the make-up on and then about 30 seconds for it to come off. I find balloons with red lipstick and loads of straw and wheat crumbled in the bag. After a live show, it’s like a weird, barnyard CSI crime scene.

Is there a new character for the next project?

I get really into the world I’m creating. There are a few other characters in this scarecrow universe and one important character for me is the farmer, but he’s yet to make an appearance.

The characters will be linked but they have to evolve — that happens as we get older anyway. What strikes fear in us changes. We take on different personas and we wear different masks. We grow, we change. If I’m still blue and doing “the scarecrow’ in like four years, you’ll know I haven’t progressed as a person or as an artist.

Lastly, how would you sum up your mix?

The aim of the mix was to create this super-focused and fun distraction, like when you’re in the club, and you’re determined not to let any of the outside world in. You’re watching the DJ, and your head is fizzing with ideas and you want to stay distracted forever! I often write a lot of music in my head whilst watching other people DJ. So here’s some fun club music featuring some artists I respect a lot, plus a bit of K-pop and Basement Jaxx because it wouldn’t feel like me without it.

‘Frolic’ comes out via Illegal Data on February 7, pre-order it here

Tracy Kawalik is a freelance music journalist, follow her on Twitter