My Blog__ Q&A: some minor noise
Toronto duo, some minor noise, released a demo late February on Bandcamp and it's good. Stuck-in-your-head good--a rare feat for bedroom electronic artists. There's something highly addictive about this lo-fi dance genre but many new artists forget that there's a world beyond their four walls. In its worst manifestation, the music becomes masturbatory. On the other end of the spectrum, there's some minor noise.
Between Wayne Doe's production and Jane Void's vocals, some minor noise strikes a balance between experimental and pop. For some reason, when listening to these tracks, I picture a seedy strip club in outer space.* It's dark but ethereal at the same time. Exposed but from far away.
*(Feel free to use that for your first video guys! Naked except for oxygen tanks!)
To shed some light on the mysterious duo, I asked them a couple of questions. Check it out below and listen to more of their tracks here.
Which comes first, the beats or the lyrics?
JANE: They're two separate entities. I'll be in the midst of a situation or emotion that I want to express, and I'll call Wayne and say, "I need a track that is sad/mad/hopeless, but that makes you want to dance/cry/break something," and he'll be like, "How about this one," and it'll just fit. We both have libraries of beats and lyrics floating around and then we mash them together when they seem to make sense.
What's the inspiration for your lyrics?
JANE: Life. I only write when I'm feeling something strongly and sometimes I'll pick up on what Wayne's feeling through his beats, or just how he titles them, and try and put myself in his headspace which eerily seems to work out, so i guess we're both pretty melancholic and insane. Also, boys or going crazy.
How do you know the song is finished?
JANE: They never seem to be....Well, we have this thing where we don't try to restrict our creativity too much and we both think that whatever flows naturally is probably going to fit best in the end so we call them 'our ugly children'. We just think of each song as a kid, that may or may not turn out ugly, or like, good at sports or whatever. Maybe not how you excepted or wanted them to turn out but they're their own entity, so we let them be what they were born to be.
WAYNE: Also, when you reach that point where you have heard the song a few hundred times and you can't tell if your edits are productive or destructive, it's a good idea to walk away before you fuck it all up beyond repair. There will always be a new song to do better on.
What are essentials for recording?
JANE: I record in my closet. On the cheapest condenser mic I could afford. So yeah, you push the clothes aside and there's a mic stand and a bike light. It's handy, I can record whenever I feel inspired. For producing, Wayne uses some vintage synthesizer software and lots of effects. That's pretty much it.
What are you listening to these days?
JANE: Not a whole lot. Mostly our own stuff, actually. I tend to get sucked into my own head when working on music, nothing else can really match how you're feeling than something you wrote last week. Oh, "Blood of a Young Wolf" by Buck 65 is my theme song, so that at least once a week.
WAYNE: I love SBTRKT, Cults, The Drums and Washed Out. Everything I've heard from this French techno producer called Gessafelstein is totally amazing. Charli XCX, Lykke Li and Katy B all have a handful of great songs on their latest releases. And, of course, "Sexy and I Know It" because it was the best TB-303 riff made in the past decade. Gives me a geekgasm everytime.
What can we look forward to in the future from some minor noise?
JANE: We make what we feel, so unless we both spontaneously become happy, well-adjusted individuals that hate technology...probably more electronica with melancholic brain vomit vocals. But who knows, weirder things have happened.