For Ena Mori, a Filipino-Japanese artist, emotional honesty isn’t confined to a single sound. It’s a fluid expression, capable of shifting and evolving, a concept beautifully illustrated by her recent releases: the EP, *Ore*, and its predecessor, *rOe*. These aren’t simply different collections of songs, but distinct chapters in a continuing exploration of self.
Mori deliberately crafted these projects as contrasting pieces. *Ore* emerged as a stark departure from the softer textures of *rOe*, born from a need for directness. The writing process itself became more assertive, a deliberate choice to reflect a changing internal landscape.
The production, a collaboration with Tim Marquez, Sam Marquez, and Emil Dela Rosa, amplifies this shift. *Ore* embraces abrasive soundscapes and fragmented arrangements, a deliberate move away from the fluid softness that defined her earlier work.
Even the titles themselves reveal a carefully considered duality. *rOe*, referencing the delicate, rounded texture of fish roe, evokes comfort and subtlety. In contrast, *Ore* – the raw, earthy mineral pulled from deep within the earth – suggests something ancient, unyielding, and powerfully textured.
This wordplay wasn’t accidental. Mori discovered the connection while playing Settlers of Catan, recognizing the crystallized gems as a potent symbol. They represented the opposite of the delicate fish egg, yet remained linked through a shared spelling, a modal opposite reflecting a deeper connection.
Compared to her 2022 album, *DON’T BLAME THE WILD ONE!*, a cathartic release fueled by pandemic anxieties, these EPs represent a turning inward. They are less about outward expression and more about a meticulous, personal analysis of past experiences and evolving emotions.
Mori’s music, categorized as avant-pop, defies easy definition. It’s emotionally raw and designed for movement, equally at home in a club setting or a live performance. The EP’s focal track, “19 Underground,” embodies this, offering a glimpse into the artistic and personal awakening of a young woman.
A key element of this evolution is a newfound freedom from the need for conventional beauty in her songwriting. Mori now embraces the power of unfiltered sound, incorporating everyday noises – the honk of a car, the feedback of a microphone – recognizing their inherent naturalness and emotional resonance.
Her unique cultural identity as a Filipino-Japanese artist also plays a crucial role. Mori feels empowered to explore the complexities of her heritage, embracing both the beauty and the challenges without concern for external perception. This comfort manifests in tracks like “Funny” and “La Loba,” where chaotic energy and haunting melodies intertwine.
Mori prioritizes authenticity above all else, choosing lyrics in Japanese or English based purely on emotional fit, rather than strategic market considerations. She believes that genuine expression transcends language and genre, resonating with listeners on a universal level through shared feeling.
Upcoming performances include a Backyard Live release online on March 13th, a set at the SYNCHRONICITY music festival in Tokyo in April, and an appearance at the Circus Music Festival in Pasig City in May. These shows present a unique challenge, requiring intense discipline to translate the intricate layers of her recordings to the live stage.
Mori is dedicated to mastering the technical demands of her dual-instrument setups, striving for a balance between precision and presence. She’s eager to convey the maximalist soundscapes of her music live, fully immersed in the experience and connected with her audience.
