Checking in on Toronto’s indie scene with this suggestion from Conor…

[Video]
[6.14]

Ian Mathers: The opening of “Heaven’s Only Wishful” keeps reminding me of the (underheard) first version of Robyn’s “Bum Like You,” which shows just how well a sparkly, slinky electropop track still works when transposed to a bare bones guitar/bass/drum setup. MorMor’s work here is both more layered (and those keyboards that do come in eventually are stellar) and doesn’t have an alternate version to play off of, but the production keeps going back on the verses to that simpler but terrifically evocative setup. It means that when “Heaven’s Only Wishful” builds to something (sonically, emotionally) richer, it has even more impact.
[8]

Alfred Soto: The line between minimalism and amateurism refuses clarification; arguments about it define rock. “Heaven’s Only Wishful” takes an awful long time, though, to say little.
[4]

Juana Giaimo: I generally assume five minute songs are quite boring and that they can always be shorter, but “Heaven’s Only Wishful” is just right. His deep smooth voice is so satysfying to listen and the calm synthpop background gives the right amount of beat to join him. It all sounds like a caress, until the end, when another texture appears: one more coarse, as if he suddenly feels the need to exposes his felings and to be heard. 
[8]

Joshua Minsoo Kim: It’s maddening to think there are two versions for this song and MorMor chose the extended version to accompany the music video. It points to how much faith he places in his jejune guitar strumming and cheaply-utilized synths to carry the bulk of the song. This tedious wait for MorMor’s more empassioned vocalizing only dampens what effect they could have had.
[1]

Nortey Dowuona: The rough, scratchy guitar and bass follow the sharp, popping drums as they pop up and down, with slick, whirling synths appearing until clouds of chords descend. MorMor exudes tranquility from his soft, gentle voice, until the raspy, bluesy howl descends over a raucous yet still hypnotic guitar solo. The water preserves the ocean of madness slightly poking out below where no one can see it.
[8]

Tim de Reuse: Every single element sounds like it’s trying to hide in the mix, except for the drums, which are consequently far too prominent. There’s a terrific song here, somewhere, but it’s so shy and it’s spread over so many minutes that you have to really tune in to notice anything worth hearing; only the stretch of MorMor’s voice at the very end approaches memorability. I suppose it’s trying to succeed on atmosphere alone, but that mode of listening makes genuinely good lines like “Chaos comes and collects the youth” shamefully easy to miss.
[6]

Edward Okulicz: By itself, I’d find the instrumental here a bit basic and bleak; the drums are too loud and the melodies seem to get drowned a little if you don’t listen closely, but I like MorMor’s mournful voice on the verses, and how it cracks as if overwhelmed in the outro. And I also like that there are a few remixes that nicely solve that problem. The original does reward patient and careful listening though. It takes a very sympathetic singer to make an overwrought line like “I’m just a poor boy waiting for answers” sound meaningful, but MorMor plays his emotional cards well.
[8]