Still Water marks a new pinnacle in Conor Mulroy’s catalogue of 16 albums, offering listeners an immersive experience with this 10-part suite.  Collaborating with Tristan Clarridge and Simon Chrisman, the ensemble creates a unique sound featuring guitar, hammered dulcimer, and cello.

Speaking about the project, Conor Mulroy explains the suite’s central theme: “The suite explores the development of musical material without changing the harmony, like a fast-moving river whose surface appears to be still water.” This creative concept sets the stage for an artistic venture that crosses musical barriers and genres.

– Laury Verdoux –

If you want to sit down and take in some really nice music, listen to The Last Circus Act by Conor Mulroy. The compositions are all his. They have an old feel, reminding me of songs by Townes Van Zandt – they’re full of feeling and observations of the heart. “Brown’s Island” is a notably lovely instrumental piece. “Norwegian Eyes” makes me think of the Moody Blues. “The Last Circus Act” is the most unique track. It feels other-worldly and mysterious – beautiful album.

– Kimmy Sophia Brown –

Together with artists who have played with Tom Waits, Bob Dylan and the Brian Blade Fellowship, Conor Mulroy pens a very personal and often intimate album. This serves as a great introduction to Mulroy’s song craft for me, as his very genuine brand of singer-songwriter sounds certainly left me intrigued and willing to explore further.

– Take Effect –

Through Echoes from a Fading Clocktower Conor Mulroy and Ella Feingold present very cinematic material to their listeners. Deep tracks and thick layers of ambient orchestration, hammered piano echo, and foggy drones surround the listener. A real treat for true ambient music fans.

– Nagamag.com –

Real life is unscripted. Why not music?
Loaf has a reply in 5 tracks: Slices from Acadia Smell it.

– Loaf –

The Battle for Ranked Choice Voting follows Maine’s story, drops in on cities like Memphis, Minneapolis, San Francisco, and Santa Fe that have adopted Ranked Choice Voting, and takes viewers on a whirlwind tour of non-plurality systems dominant throughout the world. Follow this citizen uprising to restore our failing democracy!

– RCV Website – produced and scored by Scotty Vercoe, with music from Conor Mulroy –

To record The Stranded Aviator Conor Mulroy and Jason Phelps collaborated for a remote recording session. In the middle of composing music for his master’s thesis in Maine, Conor was also working on arranging music for the acoustic group The Bee Eaters, with their instrumentation of cello, fiddle, and hammered dulcimer playing in his head. They had just relocated from Boston to the west coast, and Conor was worried he would never actually have a chance to record his compositions. Jason agreed to work on the project, and invested in a mobile recording setup, which they brought to a remote, off-the-grid gold-rush era cabin in Northern California. There they spent an incredible week remotely recording The Stranded Aviator. The record was then mastered next door by Pat Keane.

– Acadia Recording Studios –

The disc The Glass Ocean blew me away so I’m going out on a limb here because I think its that good! Accompanied by bassist Jordan Alegant and drummer Ches Smith, Conor Mulroy created this near 57 minute instrumental composition – The Glass Ocean. Like an ocean, this one continuous piece ebbs and flows melding introspective folk-like acoustic parts with searing electric passages that take on a metallic energy. As I listen I’m reminded of a variety of sources of musical inspiration, including Philip Glass. While this is not Mulroy’s first release it’s clear that he is a talent to be watched. I think you will find this mesmerizing. Highly recommended.

– Ken Golden, The Laser’s Edge –

On Salinger the playing is spotless; led by Mulroy on mandolin, nylon-string guitar, and piano, guitarist John McGann (so impressive as one of the Wayfaring Strangers), Crooked Still’s double bassist Corey DiMario, and Grand National Fiddle Champion Tristan Clarridge. They play well as an ensemble, and ensemble is what this is all about. There’s little in the way of solos or improvising here, the unaccompanied elements more like thoughtful cadenzas in nature rather than lengthy flights of fancy. Repeated listening reveals plenty of musical substance.

– David Royko Psy.D, Bluegrass Unlimited –