Foto-© Béni Masiala
Vor einem Monat erschien mit VOLUME 2 das neue Album des Londoner Duos MRCY via Dead Oceans. In dunklen und schwierigen Zeiten richtet uns die Musik von Sänger Kojo Degraft-Johnson und Produzent/Multi-Instrumentalist Barney Lister auf. Als MRCY halten sie auf den acht neuen Songs an ihrer Prämisse fest, gefühlsbetonte Musik zu machen, die ebenso überrascht wie tröstet und sich auf zeitlose Klänge ebenso bezieht wie auf einen Sinn für den neuesten Stand der Technik. Wenn ihr letztjähriges Debüt, VOLUME 1, das Kojos ekstatischen Gesang und Barneys meisterhafte analoge Produktion vereinte, MRCYs blitzschnelle Chemie zeigte, baut VOLUME 2 darauf auf und ist eine Sammlung, die anspruchsvoller, thematischer und definitiv moderner ist und Liebe, Selbstentdeckung und Heilung erforscht. Wir sprachen mit Barney vorab via Zoom – unser Interview mit MRCY!
How do you see Volume II compared to the first – is this a spiritual success, or a second part of a single album, or is this like a natural progression of a song cycle? How do you see this?
I see this as a natural progression. We put a lot of love into everything we do. When we started, it was like a snowball – everything happened so fast. We met, did crazy things, and never even played live together until the Black Pumas tour last year. This record is how me and Kojo have really solidified our vibe together.
Is this album then an ending? Or are you expecting a volume three, is it maybe already in the works?
We haven’t started anything yet. We’re taking a brief pause to gather our thoughts, enjoy our shows this year, and be content playing the tunes, seeing how people respond.
The album has this imminent and constant flow of energy that smooths out all its rough edges, with vintage elements knitted together in a new way. What’s been the inspiration for the sound you’re pursuing?
We love old records and listen to a lot of them, but we’re trying to find a way that’s not just a pastiche. It’s about capturing the feeling of old records while adding current flavors and energy. We want to bring modern feelings to sounds that make us feel something special, while also incorporating amazing new music we’re loving.
Let’s talk about the opening track Angels – how did you decide on this as the album’s first song?
This album talks a lot about fear and anxiety, but also about trying to be positive. „Angels“ was actually the first song we wrote for the album, and it felt like the foundation of everything. It’s about trying to be positive and not let fear dominate your life, about moving with confidence. It felt like the right place to begin because that’s the goal – to find happiness. Both volumes start with the first song that we wrote, yeah. So like the first time that we met we made R.L.M/ off the first record, and that was how we knew there was something great about us working together. And in a similar light, this does the same thing. This was the, this was the kind of heart of the record. So it felt right to start the record with that, you know.
On Flickr, you have these crisp West African guitars accompanying a quite brooding song. How do you find the right instrumentation for each track?
The instrumentation comes from trying to pick out what sounds feel like MRCY. Kojo is Ghanaian, so we have a lot of West African influence. London is this melting pot of cultures, and that exists in our music. Quite often, the instrumentation comes naturally from wherever the song starts – whatever instrument we begin with guides the rest of the track.
Take the track Sierra – it feels incredibly cinematic, almost like a ride in a convertible with these lush, expansive soundscapes. Do you write with specific imagery in mind?
Absolutely. Sierra is actually a wind that blows over California. We definitely saw mountains, high winds, deserts. Every song for me has a location attached to it. The cinematic nature of music has always been beautiful to me. We wrote it around two guitars, almost like playing around a campfire, and those mountain and desert images were prevalent throughout.
How do you build up the sounds you want to pursue? Do you typically start with a bass line, or do you prefer starting with chordal instruments?
It depends on the vibe of the song. Something like Man came from the bass line and drums, because it’s about the groove and energy. But a song like Sierra we wrote very much on guitar, almost like playing around a campfire. It really depends on the specific track and how it evolves.
Can you talk about non-musical influences? Are there films, novels, or pieces of art that shaped this album?
There’s a feeling I get watching Scott’s movies where he uses an old love song during an intense scene – like crazy gangster shit with a soft 60s track in the background. It’s that culmination of music and visuals creating something better than the sum of its parts. I’m always searching for that moment where a soft song seems to make you feel the opposite of what it’s actually talking about.
Your production style balances sophistication with rough edges. How do you decide when to polish a track and when to leave it raw?
I think I don’t want things to feel too pristine. I want it to feel real as possible and crunchy and interesting. The balance between something being too rough and overly perfected is really difficult. I want listeners to be aware that I’m playing, and I’m not necessarily amazing at every instrument. But it’s about being confident in who you are. Sometimes it’s brave to leave those imperfections that show it’s actually us.
What are the biggest differences between you and Kojo as musicians?
We’re actually quite lucky with our personalities – we’re both easy-going. Kojo, being singing the lyrics, it’s very personal to him how he delivers this, so he is very particular about harmonies and how our words . I tend to focus more on musical aspects. It’s about respect, knowing your opinion, but also being willing to listen to each other. That’s true collaboration.
How do you maintain hope and energy in your music despite acknowledging world challenges?
You can’t exist constantly in darkness. With social media, it’s easy to get stuck in cycles of fear and worry. But there’s a lot of good in the world, and a lot of positivity. I’d be doing a disservice if I didn’t try to look for light amongst the darkness. Looking at people finding hope in terrible situations – like what’s happening in Palestine – is beautiful. Hope is the only thing that can get us through the shit in the world. We’ve got to strive for positivity through our art.
Are there ideas left unexplored in these first two albums? What can we look forward to?
Finishing this volume felt like a complete moment. Right now, we’re not thinking about anything other than enjoying our current shows. The world is full of ideas – it’s impossible to run out. We’re excited about an open book of possibilities and enjoying our live performances.
MRCY live:
21.-22.11.25 Weissenhäuser Strand, Rolling Stone Beach
24.11.25 Berlin, Quasimodo
