Join us as we explore the creative chaos and infectious energy that fuels Morgan Noise.

Founded by the ever-inventive Morgan - who hails from the serene landscapes of Devon and now navigates the buzzing streets of London. Morgan’s journey began with voice memos, fragments of inspiration captured on the fly, transforming into layered melodies and eclectic sounds that merge experimental pop with jazz and electronic rock. With a band that feels more like a family and a penchant for exploring the weird and wonderful, Morgan Noise is the sonic equivalent of an adventurous road trip where every turn reveals a new surprise. In this Q&A, we’ll peel back the layers of Morgan's creative process, reminisce about wild on-stage moments, and explore the unique community that has fostered their growth.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

My name’s Morgan, I’m from Devon and live in London, and I make any tune I’m in the mood for (and then hope some other people might be in the mood for that too)

Morgan, as the founder of Morgan Noise, what was the initial vision for the project, and how has that evolved since your debut on the Slow Dance compilation last year?

Before it started, whenever I had an idea I thought was genuinely interesting or a bit weird I’d record it as a voice memo. I wanted to take those ideas and make them real with a band. (my phone is currently breaking coz all my storage is gone on voice memos)

It was just me singing all the parts and then layering up about 10 different piano takes coz I’m not good enough at piano to play it all at once. 

Once the band got together it soon became clearer what it’d sound like. I’m especially bad at writing clear drum parts or explaining what I want that coherently, so Dillon Harrison on drums really helped bring the project together. 

Since we put out 'Further' (the tune on Slow Dance compilation last year), the music has kept changing. I like bringing new tunes as often as possible, so every few sets we add something else in. We debuted one of the new tunes, called a Thousand Eyes, at Electric Brixton supporting Fat Dog. That support slot may have been slightly easier for me to secure than other people haha, but still it was an amazing night. 

Olivia Hughes on synths has also fully joined the band which is great because i’m always trying to make everything sound fatter and she helps a lot with that. 

Your latest single 'I Put Everything' blends experimental pop with jazz and electronic rock. Could you walk us through the creative process behind the track?

I wrote the opening riff on piano and then recorded the whole thing as a garage band file with loads of takes of me playing piano on top of each other. That seems to be the standard process for writing my tunes; it would be handy if I got better at piano but this seems to work equally fine. 

Dillon Harrison on drums and Kavi Maraj on bass helped create the groove which kind of settled everything together.

How was the single produced?

Joel Burton produced the single, with me sat behind him saying helpful / annoying things every now and then. He really understood how it should all fit together. He is great at making drums sound great 

The line “‘No matter if it’s all made of cardboard, the silhouette looks the same from far away’” evokes a vivid image. Can you expand on the metaphorical meaning behind that and how it relates to the overall theme of the song?

I don’t know too much what the meaning is but I was imagining a cardboard cut out of a skyline, a London skyline, somewhere dark. And it’s so dark you can only see the silhouette. it’s exactly the same shape as the real thing, and you would never know what it’s made of unless you reached out to touch it. So you think you’ve finally arrived at the real place even though you haven’t.  I guess the whole song is about trying to get somewhere but you’re not exactly sure where. 

Your shows at Brixton Windmill and Green Man Festival have garnered quite a following. How does the energy of your live performances shape your music, and do you approach creating music with live performance in mind?

I think I have a strange relationship between writing music and thinking of the live side of it. As in, I almost don’t want to think about the live side of it. But as i play with more people and meet more musicians I think a lot of people feel that same disparity. 

I like writing just thinking only about the song I’m making and nothing else . But then you definitely end up with some things that don’t work live.   I think the live side really kicks in when I try a new tune with the whole band in practice, and then I can see what it sounds like in 3D after just playing it myself for ages. That’ll always influence how it turns out, there’s nothing like playing tunes with real musicians.

You’ve played Brixton Windmill, Green Man Festival, and probably a few grimy basements along the way. What’s the wildest moment you’ve had on stage so far?

We’ve done quite a few hit or miss covers. which usually happens with us listening to a tune a few hours before the gig and then me deciding it’s definitely a great idea to play it. Up there is Ass and Titties by DJ Assault and Darude Sandstorm which I fully forgot we did until I saw a video of it a few days ago.

Your new single is out on Slow Dance Records’ imprint MOTR. How has the label supported and shaped your artistic direction?

Marco at Slow Dance has always been in a great help in releasing tunes. We’re both involved in a few other projects so I bump into him every once in a while in random European cities which is nice. I really liked all the other tunes on the new music comp Further came out on. I think Slow Dance is great for finding interesting music 

As a regular at Brixton Windmill, a venue known for fostering alternative music, how has the community there contributed to Morgan Noise’s growth and identity?

Tim Perry at the Windmill is the best booker in London. He’s put on loads of different projects I’ve done, some flops some not. But that’s why it’s great, it’s a place to be able to try things out. And then if some of them stick you can grow something 

What do you love right now? 

Sainsburys tiramisu.

What do you hate right now?

carrying a flight case.

Name an album you’re still listening to from when you were younger and why it’s still important to you?

Kid A. I actually hadn’t listened to Kid A in a bit, but then the other day I was on a plane and playing a new tune I’d made to a friend. It was a tune I’d made a few days earlier with Joel (who produced I Put Everything). I was slightly worried it was too weird or inaccessible, and since I’d just made it I’d already listened to it about 200 times and couldn’t hear it anymore. 

The guy I played it to said the melody sounded like it was from Kid A, and regardless of if that’s true or not, I was very pleased with that

I then listened to Kid A for the whole of that flight and the next 3 flights I took. 

That album’s important to me because the first time I heard it I thought “this sounds different” and I still think that now. 

With upcoming shows and new releases, what can fans expect next from Morgan Noise, both musically and in terms of live performances?

Hopefully always something new. I’m away for the next month and a bit, so hopefully some new tunes will happen while I’m gone.

When I get back to London something new can happen in real life. 

I just bought a midi keyboard that is suitcase sized so now the world is my oyster 

I return to London sporadically in November, and in December for good.