The Mix 045: Mun Sing

Phone cameras flash like a lightning storm, stoking the maniacal mood as a sinister cackle creeps across a viral edit of Mun Sing's track 'Gliding'. The bass groans, synths jab, and sliced-up piano samples hit discordantly, evoking a funhouse-themed fever dream. Sandwiched between Destiny's Child's 'Opera of the Bells', Gabber Modus Operandi, and SOPHIE, two more of Mun Sing's experimental club belters, 'Squabble' and 'Waiting In The Car', jerk the cavorting crowd of hundreds at Rough Trade East into a frenzy. But Mun Sing's not in the building. Björk is behind the decks, paying homage to her roster of brilliantly bizarre and boundary-pushing collaborators.

Formerly one half of Bristol punk-techno duo Giant Swan, Harry Wright AKA Mun Sing is now exploring otherworldly realms. 'Frolic', his forthcoming concept EP, finds him diverging from his grief-laden debut solo album, 2023's 'Inflatable Gravestone', to embody an ultramarine scarecrow and self-professed "boogeyman of indulgence."

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My introduction to his maximalist persona took place at cutting-edge club night Tropical Waste, a haven for experimental electronic artists and die-hard dancers, where Mun Sing first test-drove his pulse-pounding live show on London soil. Flanked by straw, burlap, wheat, and neon strobes, Mun Sing tore into his lysergic set like a dancefloor deity or sonic sorcerer commanding mischief, hedonism, and escape. He deflated yellow latex balloons smudged with blood-red lipstick kisses into a mic, then unravelled deep into his demented storyline, struck by floods of emotion and a guilty conscience as a reminder that "fun comes at a price!".

Mun Sing might be a menacing blue-faced boogeyman on 'Frolic', lurking in the darkest corners of the club, lambasting us into line. But amidst the hijinks and elaborate costuming, he's still wearing his heart on his sleeve.

For The Mix, Mun Sing builds a sonic world of inspiring distractions, and discusses the vulnerability within his music, getting into character, texting Björk, his most obscure samples, and what the future holds as a solo artist.

You kicked off 2025 with Björk playing a New Year's Eve set laced with Mun Sing edits for Apple Music Live. How did the connection between you and her initially come about?

She had played a bunch of my songs at a DJ set in early 2024. When I woke up, my phone was blowing up! Long story short, our managers started talking; she asked for my number and texted me, "Mun Sing hahaha Björk here." Then invited me to New York and Reykjavik to play live and DJ with her.

What is it like performing with Björk and having her rework your music?

It was a dream, to be honest, and a bit of a trip because she's a hero of mine. Björk made a special edit of 'Gliding' with this song from 1922 called 'The Laughing Policeman', which is very cool. It made its way onto TikTok and went viral as an example of "What the hell is going on?!” / “crazy music".

'Gliding' was off your debut solo album on Planet Mu, inspired by the loss of your father. How does it feel to have something so visceral go viral? Or simply hear that music released?

It felt and still feels very cathartic. I was so focused on getting that music out because I needed to express my feelings and put them into something I could refer to - but I didn't really think about how that would be relayed back to me. I was straight out of grief. I wasn't emotionally prepared for people sharing similar experiences or talking to me about how my music connected to them each time I performed it. The fact it does feels amazing, but I'm definitely ready for my music not to be so personal.

Hence, the inspiration for 'Frolic'?

Exactly. On my last album, I was writing with a big mirror in front of me and looking at my dad's experiences with addiction and navigating loss. Whereas, with 'Frolic', I wanted to have the mirror faced the other way and be reflective of my environment, my audience, and other people's experiences.

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How was the character of the scarecrow conceptualised?

When you're a kid, you have all kinds of boogeymen like ogres under a bridge that'll emerge "If you don't eat your dinner" and teach us about the consequences of our actions.I thought it was quite fun to escape into the scarecrow and become that character as an adult to keep us well-behaved/morally in check.

Were you afraid of a boogeyman?

Not really, no. That's another element that made this EP so important. I internalised a lot of guilt early on that I had a sort of "duty" as a kid, and I was mostly scared I wasn't living up to that. As the scarecrow, I'm giving both an incentive for people to do the right thing, but I can also be a scapegoat for all the shame and guilt we accumulate over time.

You also took a lot of inspiration from large-scale stadium pop concerts and pantomime for the live show. Where did that come from?

I really like character-based stuff, I think because I wanted to be an actor when I was a kid. I'm also a Leo, so I like the spotlight.

As for pantomimes, they're on a different level than the average play. It's adults playing dress-up. They're a little creepy, a bit weird. They have a playful cheekiness while being sinister, and you always learn a lesson in the end.

What lesson are you teaching with 'Frolic'?

I start off the narrative really confident and arrogant. At the beginning of the live set and EP, I'm “performing” and indulging. That reaches a climax and then unravels into a lot of vulnerability. By the end, I'm questioning myself, feeling a bit embarrassed and ashamed. That's the same kind of narrative you have when you're indulging in anything.

Most of us can relate…

We've all started a night super cocky, like, "I can handle this; I can have this extra drink!" or "I'm not gonna be tired tomorrow when I have to wake up for work." But by the end, you're thinking, "That was a bad idea." So, I'm slowly stripping that same confidence away as I play.

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Have you conjured a lot of new fans?

Yeah, I have, which has been really nice. I've also had a lot of people crying, which seems to be a bit of a theme when I perform live. I thought there would be fewer tears now because I'm not performing songs about my dead dad, but people are still crying, even with me dressed in blue. It is quite horrible when I perform because I usually end up in tears myself.

What songs make you cry?

The last track I perform 'Scrolling' and also 'The Scallywag'. I allow myself to feel intense sadness in front of strangers when I perform these songs live. I guess I'm doing this in the hope that people in the audience feel able to open up and be vulnerable too. An exchange of vulnerability can be a powerful thing! For me, that's a really interesting way to connect with people. Songs by other artists that make me cry? 'Sick & Tired' by Denzel Curry and 'Tender' by Blur.

At Tropical Waste, you deflated lipstick-stained balloons into a mic over a track. On 'Inflatable Gravestone', there's a haunting sample of your dad breathing in his sleep. What does the balloon symbolise? And what samples are on 'Frolic'?

Since my last live shows, the balloon has found a new context. It previously acted as a metaphor for grief that you carry with you. Now, it serves as a symbol of fun and self-fulfilment. In terms of obscure samples that feature on 'Frolic', hmm?... Those would probably be recordings of my old dog Fluffy (RIP). Wow, I thought this record was going to be more “FUN”, but I guess now that we’re talking about it, I can't stop sprinkling a little grief here and there!

Could your live shows act as an alternative therapy?

They can go either way! Sometimes, my sets are really inappropriate for the club setting. I've had it before where I've played at a peak time, 3:AM, and I've gone to the promoter like, "You definitely know what kind of music I make, right?!" They'll answer, "Yeah, it'll be fine!" But suddenly, I’m there with this really sad, indulgent music sandwich packed between two, popping off techno and trance DJs. I've felt really embarrassed by that because people don't want to confront their feelings when they've just taken a pill! Then I feel like I’ve tricked them!

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.

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 startehttps://mixmag.net/featu...d again.

Like your bone-rattling debut EP 'Witness'?

I put out 'Witness' on an experimental Mexico City imprint called Infinite Machine 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

Tracklist:
Ship Sket & Seychells - Got Me
фанкшн - Коридоры
Renslink - Peace On The River
Jetty - The Bag Remix
Batu - Sour 2 Taste
Hassan Abou Alam - Shalfata (3Phaz Remix)
Dave N.A. - Nexor
Toma Kami - Fungi
Sha Ru - Pressure
Aloka - Granulate
Rizla Ops - Slant
Sobolik - Track Maintanence
A.Fruit & Itoa - Slow Teleport
pixelord - NFT Acid
Sineraw - You Want Soft
Iglooghost - White Gum
NCT - icanfeelanything
Daedelus - Yew and Me (Lapsung Remix)
Daniel Ness - Past Life Reclaimed
georg-i - Strobe Fodder
Itoa - Oh No
Minor Science - Casheine
Terrorrythmus - Crank Dat Tek
HDMIRROR - SPAWN
3l3d3p - ibitbt
Baseck - TIME TO PARTY
Osheyack & Nahash - Temperance
Mor Elian & Rhyw - Cowlick
Martini - Mea Culpa
Ytem - Eco
DJ Powerade - Undertow
Prettybwoy - Mikoshi
Basement Jaxx & Siouxsie Sioux - Cish Cash