#like IMMEDIATELy from the little tells and ways certain details morph into each other etc. I dont even mean obvious dalle mini stuff but

[icewindandboringhorror]

I love all of these goofy product photos where the water bottle is extremely obviously just photoshopped onto a stock image of someone pretending to hold something or whatever.. very convincing..

[mercuryislove]

Don’t hate me but… I kinda want you to answer all of the deep dive WIP asks 🥺 if that’s unreasonable tho, just 2, 9, and 10 please!

I am SORRY for the delay!!! i answered every question for BOTH projects so you're in for like.... several thousand words of shit that makes absolutely no sense, but i hope you you enjoy it! :)

1. Who are two characters that don't like each other? What do they reveal about each other to the readers? Will they ever learn to put aside their differences?

White Crane: okay this is hard because like. so many people do not like each other. (I know I made a post once about how terrible it would be to be one of twenty-eight people that have the power of dead gods but are trapped in stupid human bodies and you're all a thousand years old and hate each other so so so so so much because you all SUCK.) But for the sake of simplicity, I will talk about Ciaran and Sihla who never got along but only played nice to keep Anwei happy. They absolutely do NOT put aside their differences lmao once everything kind of, um, blows up between the three of them, all they want to do is KILL each other. She makes it her life's goal to make him suffer, and he basically loses his sanity in the process of trying to find a way to kill her for good. The beef is unbelievable. ANYWAY, what they reveal about each other is that Ciaran is not nearly as innocent in anything as he likes to pretend and Sihla is not as guilty as everyone says she is. I mean, she is still a terrible person in many ways, but that does not excuse the things he did to her all those years ago. She hates him for many, many good reasons.

Old Blood: Andhira HATES the entire Ekion family, but specifically the oldest son (who does not have an official name yet.... oops). He doesn't much care for her either but is usually too busy trying to better his social standing to worry too much about her. Except when they're in the same room together (which happens semi-regularly because her brother is kind of in love with him lmao). They hate each other for the exact same reason and it's that they're both SO arrogant. They look down on everyone around them (which in Andhira's case is like. fair. She's the firstborn of the two most powerful people on the planet, and the only person that comes close to that level of power is her twin brother who was born a mere fourteen minutes after her) but think the other is completely unjustified in their actions. Really all it reveals to a reader is that they both kind of suck and need to get over themselves because all that behavior does is make people resent you. They only put aside their differences because she does kind of need his help once or twice, but they would gladly spit in each other's face and/or push each other down a flight of stairs in the name of pettiness.

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2. What do you hope your readers will take away from your wip? Is there an intentional theme to the story?

These can be answered together! I started writing these stories because I wanted to have fun but they've both kind of morphed into a long-winded way of saying that like. it's okay to be messed up and hate yourself and have major internal struggles because there are people who still love you. I KNOW it doesn't sound like that from uhhhhhh literally everything I've ever said about this stuff but bear with me. The BIG theme is that love is EVERYTHING. All kinds of love. It's the reason to keep on going. You are never alone, even strangers can love you in their own way, etc etc etc etc. Also gay love fucking prevails always and forever.

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3. What do you love most about your protagonist?

Yixing is funny and weird and definitely a horse girl and he kind of sucks sometimes because he's stubborn as hell and has terrible people skills and maybe also a drinking problem, but he is kind and empathetic and despite the absolute hell he's lived through, he still sees the good in people and knows that it's easy to make mistakes and that most people deserve second chances in life. Also I like him because he is without a doubt the ideal man and I made him that way on purpose. And god I wish we could drink together. I'm talking stumbling drunk, crying on the bathroom floor, please-hold-my-hair-i'm-about-to-throw-up kind of drinking. We would have a great time being stupid together I think.

Vera is resilient and mean and stubborn and cold and off-putting and hard to get to know, and she sucks for those reasons but it's also why I love her so much. She has also lived through hell and it didn't make her try to see the good in people like Yixing does. It just made her bitter and resentful. She warms up over time, but she fights tooth and nail against it. I also love her so much because she is the archetype of like. the washed up former prodigy that has to return sort of against her will to her old life, and she realizes that she misses it in some ways but also remembers exactly why she left. I would Not want to drink with her (because she doesn't drink anymore), but I would love to take one of her art classes.

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4. Is there anything in the story that is implied but not directly stated? Will this become more relevant later on? How perceptive would a reader have to be to pick up on this?

White Crane: This is hard because I'm so invested in my own shit that it feels obvious to me, but I try to lay out a little candy trail that tells the reader that Ciaran and Anwei are Not What They Seem right from the start. It’s hard to explain without specific examples but it’s in the way they talk, they way they interact with other people, the way certain things they say don’t line up, etc etc etc. And there is a Big Hint of what will happen to Ciaran in the second and third installment, but idk if that counts. Also there are definitely implications that Yixing is trans but that's neither here nor there (honestly I’ve gone back and forth on whether or not he should be explicitly trans or if it should be left to reader interpretation because well... I don’t know if I'm capable of writing the nuance of transness because I'm not trans despite my complex and confusing relationship with gender but I'm also not a thirty-something year old Asian man NOR am I a god NOR am I a former vampire hunter NOR am I like. any of the things I write about other than a mean lesbian so. who knows?)

Old Blood: TRUE FANS already know this one, but regular degular readers that haven't participated in funny question friday or read my random late night posting would not immediately know that Josef and the Sovereign were once involved. Basically the only characters in the story that know are Josef, Luka, the Sovereign himself, and Tahire. But there are definitely some hints peppered throughout conversations and perhaps some photos and trinkets that Josef has kept after all this time... It has like no weight on the events of the story but I just think it's fun. Once again I am way too invested to know if it's easy to pick up on or not but I think it takes some theorizing about maybe? Other than that there aren’t any significant secrets.

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5. Which character has the most intricate backstory? Is this backstory common knowledge from the start, or is it revealed later on? How does the backstory affect the narrative?

White Crane: this is unfair because some of the characters are almost a thousand years old and some of them are like. 35. I DO have a full timeline written out of the thousand years of history that Ciaran and Anwei have lived through, if that counts as an answer. Like it doesn't have every single day and year, but it has all the big events for sure. Barring that, Yixing definitely has a pretty complex backstory. The man gets around lol and I try (and maybe fail?) to make him seem not too complex initially but then things get revealed and you learn more about him and are like “oh my god no wonder this man has Problems.” Also if he was like. “normal” and perhaps “well-adjusted” the story would not exist at all because he is the way he is and makes some of the stupid decisions he does because of his weird little life.

Old Blood: ONCE AGAIN, this is unfair because the Sovereign is like older than god. And Vera is 37. But like. I haven't fleshed him or any of the old ass vampires out nearly as much as Vera so there's your answer I guess? And I guess the important things are known from the start (that she was a prodigy, that she retired because terrible shit happened and she couldn't handle it, that she suffers from significant ptsd because of it, etc), but there is a lot of detail that doesn't come out until much later when she has to confront her Feelings (ewww feelings). Uh... the backstory affects the narrative because it wouldn't exist at all if Vera wasn't plagued by her fucked up blood nightmares lol

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6. Which two characters have the most complicated relationship? How does their relationship develop over time?

White Crane: Ciaran and Anwei totally. They love each other because they're brother and sister and were all the other had for a VERY long time (and even when they were still uh mortal, they relied on each other constantly), but also they hate each other because they're brother and sister. You know how it is with siblings. I love my brother and sister to pieces but I can't imagine being immortal and having to put up with the both of them for all eternity (sorry guys if you are reading this somehow.... I love you but we are all so annoying god bless). They handled their newfound godhood very, very, very differently and it kind of colors their relationship for the rest of time. There were times where they were extremely codependent and other times where they didn't speak to each other for DECADES. At the start of our story, they're on much better terms and have buried all their hatchets, but it doesn't take much for that to change....

Old Blood: Probably Vera and Andhira? They're only brought together because of their shared fucked up blood nightmares, and neither of them like that thought. They both resent the other for everything they are, and Vera is pretty much completely hostile to Andhira about it for a long time (and Andhira is only just barely cordial lol), but obviously a significant part of the plot revolves around them like. falling in love so they DO get over it after a while :)

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7. What is the most heart-wrenching scene in your wip? Why?

White Crane: When Yixing fucking DIES. I feel like this one should be self-explanatory. But I mean if you would like further explanation, it's unpleasant and slow and agonizing and nobody can do anything to stop it (haha....... unless?) so Ciaran gets to hold him for a long time and feel really bad about it lol

Old Blood: idk if there are any really heart-wrenching scenes but there are definitely some miserable and uncomfortable scenes like where Vera relives in vivid detail the days that she witnessed the gruesome deaths of her young apprentice and her last lover. They're upsetting because those are the two days that basically ruined her life (and one was the final straw that sent her spiraling completely out of control) and it's painful to watch her have to live with the guilt of what happened even if it wasn't her fault.

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8. What is a song that you associate with your wip? Explain.

White Crane: not to be basic but absolutely without a doubt in my stupid mind “Everybody Wants to Rule the World” by Tears for Fears lol it's because uh. well. Everybody wants to rule the world right? Basically way back in 2019 when I was crafting the ideas for the dnd campaign that became this thing instead, I was definitely having a metal gear moment (honestly I’m about to have a metal gear moment NOW lol) and was listening to a lot of like. mgs adjacent music and latched onto this song (and also promises, promises by naked eyes lmao) as some like thematic element. Like my brain making amvs. You know how it is. ANYWAY the point is. The concept was originally way different and was supposed to be more about the immediate aftermath of the so-called end of the world (yes Yixing was still there and yes he was still just some guy), and it focused a lot more on power struggles between all of these insane people that were granted godhood in the wake of the dying world. Which........ is something I'd like to write about at some point because it's intriguing in its own way but at the time I was unequipped to write about that when I really just wanted to write about people who are, for all intents and purposes, quite average getting caught up in the batshit drama of higher powers. (fun fact: Ciaran was supposed to be a tyrant king that ran a death cult and Anwei and Yixing were working together to figure out a way to kill him. Which is. Kind of what my dnd campaign is like now lol BASICALLY he's like if Big Boss was unkillable and could also rip souls out of people's bodies and eat them. I absolutely do not remember what this question originally was. Something about a song?)

Old Blood: THIS is the reason it took me so long to answer this whole thing. I thought long and hard and looked through all my playlists and listened to random songs that came to mind but it turns out the song I was looking for was right in front of me the whole time. DUH. It's “Golden Light” by Twin Shadow :) In my humble homo interpretation, I think it's a song about being afraid to fall in love and. Well. That's the whole point. Also #spoilers but the first time Vera sees Andhira and is like “oops I think I have feelings” is when they've just arrived at Andhira's home and the sun is rising and she looks over at her as they stand at the top of a hill and she has her eyes closed to the sun and she's bathed in golden light and OOUGGGGHGHHH poetic cinema. (honorable mention goes to “Groove is in the Heart” by Deee-lite because it’s quintessential early 90s music that Vera would be super into)

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9. What does your protagonist want most? What would they do to achieve this? What is something they wouldn't do to achieve this?

White Crane: Yixing wants to be happy for once. Like actually really happy instead of just. getting by. There's a scene where they're making wishes for the next seasons during the summer solstice and someone asks what he wants and he's like “uh I guess I want to still be alive at the end of the year?” and the other person is like “isn't that what everyone wants? Raise the fucking bar please. What do you REALLY want?” and he's stands there for a really long time and thinks about it before finally saying “I think I just want to be happy for once” and everyone else is like. wow. Way to kill the fucking mood dude. Anyway. He has had fleeting moments of happiness in his life but wants nothing more than to feel that way forever. It's kind of hard to say what he wouldn't do for that because like. there's not really much you CAN do in the first place, so I feel like there's even less you couldn't do. I guess he wouldn't like sell his soul to the devil or something lmao (though by being involved with Ciaran he's pretty much halfway there)

Old Blood: to be left alone. Vera just wants a normal life. She really truly does want to pretend that none of the horrible shit happened to her and that she was never a world-famous hunter. And she wants to teach art classes and live a quiet life!!! I mean, she is already mostly doing that exact thing when we first meet her, but obviously she has some hindrances (aka fucked up blood nightmares). She is begrudgingly helping Andhira because she assumes that will fix her problem and that she'll be able to get to that quiet living as soon as all is said and done. The only thing she really wouldn't do to get what she wants is like... live somewhere far away from Josef and Luka lol She likes having them close by more than she wants to be left alone.

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10. Within your story's world, were there any events that impacted every character (or most characters)? How would they be different if this event never happened? (Alternatively, erase an important even from on character's backstory and imagine where they'd be now.)

White Crane: well. If the stupid old gods didn't all kill themselves and almost end the world then I guess none of this story would exist lol But the actual answer is like. If Yixing had never run out on his girlfriend of ten years then he wouldn't have moved across the continent to Jengmi and wouldn't have made a name for himself way out there and wouldn't have been scouted and recruited and wouldn't have met Ciaran or Anwei and wouldn't have gotten in the middle of the batshit grudge between a bunch of ancient petty gay people and wouldn't have DIED and wouldn't have made one of the ancient petty gay people in particular lose his grip on his humanity via a lust for power in a desperate attempt to guarantee his safety and wouldn't have been the reason that tens of thousands of people die in his name and wouldn't have accidentally set off a chain of events that resulted in him having to hunt down and kill the Actual God that started it all in a fit of jealous rage. So like. maybe he should have just gone through with the wedding. All things considered, his life would have been way less stressful.

Old Blood: uhhh, that's tough because the stuff that happens only really has any effect on the mortal characters (I mean yeah people still try to kill the Sovereign but they're too dumb to know the ACTUAL way to kill him.... haha unless??), so it would be more like a what if Vera didn't witness the violent deaths of both her apprentice and her lover and have a full blown nervous breakdown and abandon her career? Well...... I think most things in the plot would transpire more or less the same, except she would be WAY less pissed off about it. In fact, she would probably be hyped as hell to get the chance to make the acquaintance of the Sovereign's family like Josef had before her. The thought of Vera being upbeat and not a sleep-deprived asshole that hates being dragged back to her old life..... ew. Not that I enjoy her suffering but you know what I mean. It just wouldn't be the same.

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11. What is something from your wip that you just really want to ramble about?

Are you sure you're ready for this. This is going to be so so so so long I'm sorry in advance. It's Saturday night and I'm alone and kind of sad so I'm just going to let loose.

As I hone down plot elements for next two installments in my little trilogy, I have kind of become obsessed with the passage of time and how different it must feel to someone that, well, lives forever. One of the ways I'd written (that has since been kind of changed) for Yixing to start to figure out what Ciaran really is was that he would casually be looking through his bookshelf and find an old photograph of Ciaran, Anwei, and their mom standing backstage together after one of his performances. And when he eventually asks Ciaran about it, he gets upset because how dare you touch the one thing I have left to remember my mother? To remember what my life used to be like? There are so many names and faces and places and foods and sensations that I've forgotten in the 940 years I've lived like this and I would give anything I have to see any of it just one more time because I didn't know that the last time I would ever speak to my mom we would have an argument on the phone about how I need to go to the temple and pray for good fortune on my birthday, or that the last time I would ever see my best friend would be at 6am when we both came into the studio to practice and he asked me to go out to breakfast and I said no because I thought a nap would be more important. And there are so many people that I've watched die whose names I never learned and whose faces I forgot the moment I turned away, and there are so many others that I loved so dearly that I had to leave behind because they grew old and I didn't. And I have lived lifetimes in solitude to keep myself a secret from other people and I have died more than any person should ever have to die and I have witnessed atrocities no one should ever witness and I hate everything about this life so much but I love everything about this life so much and I wouldn’t trade it for anything but I think I would give it all away in an instant if only to remember the scent of my mother's favorite perfume and I think I would give it all away in an instant if it meant I didn't have to watch you turn to dust in my arms.

ANYWAY. I think a lot about the agony of loving things that aren't permanent and how it really DOES drive you mad because lately I have been unbelievably nostalgic for certain things that weren't even that long ago but..... I didn't appreciate them at the time and I feel so guilty about it. (And like. I too would give up my entire life to be able to remember the scent of my grandmother's favorite perfume.) And all my pent-up sadness is for things that only happened in my childhood. I have pictures and videos and other people to share those memories with, but what does it feel like to be one of very few people that watched the entire world fall apart and rebuild itself and have nothing to hold onto from that time? What does it feel like to foster dozens of generations of children and outlive every single one of them? What does it feel like to have only fragments of memories of entire lifetimes? How lonely is it? I mean, Ciaran and Anwei have each other and that makes a difference but it still has to be the most isolating feeling. And then there's the pain that comes with memories that have faded or otherwise become hazy. I doubt either of them remember their father's face. They hadn't seen him in years even before it all happened. If it wasn't for that single photo he has, they wouldn't remember their mother's face either. Do they still remember her name? Or her birthday? Do they remember anyone else? Cousins, aunts, uncles, grandparents, friends, coworkers? If they do, do they even want to talk about it? One thing I worry about in my own life (and this is how I know I have Problems) is that I'm so afraid that talking about memories will alter them somehow. There are so many things that I don't even like to share because once the words are spoken the little vhs tape that has all my memories has been recorded over, even if it's just by a single frame. Something about it has been changed forever each time I talk about it. Do they feel the same way and keep things to themselves instead of sharing the sadness? I think maybe they used to talk about the “old days” or whatever much more often back in the past, but as the years went by.... they just learned to keep it to themselves.

I think maybe I have a lot of anxiety about the passage of time and of being forgotten!

Anyway again. The passage of time drives me insane. And I think it would make me even more insane if I had been chosen to carry the mantle of a dead god and would live forever. My dog died a year ago and I still cry like every single day thinking about her. If I was doomed to live forever I don't know how the sadness wouldn't swallow me whole! No wonder all the people in this book are fucking CRAZY!!

And don't even get me started on the Sovereign lol he's like “oh boo-hoo you've lived for not even a thousand years? Bitch they hadn't invented fucking GLASS yet when I was born. The horse wasn't domesticated yet. Cry harder!!”

[daggerzine]

The Simon Provencher interview (by Tom Murphy)

Simon Provencher is perhaps best known for his frenetic and creative guitar work for the post-punk band VICTIME out of Québec. But on March 26, 2021 the musician released his debut EP Mesures via Michel Records. It is six tracks of free jazz collages that bear favorable comparison to the avant-garde compositions of Anthony Braxton as Provencher makes creative and playful use of clarinet, electric guitar, percussion and processing to convey a strong sense of mood and place while making one very aware of aspects of the environment around us we often tune out. In pairing aspects of exploratory jazz and musique concrète, Provencher has given us an album that is both soothing and keeps us grounded in the present. The composer and musician recently answered some questions we presented to him via email about the nature of his music, its inspirations and methods of crafting its elegantly evocative passages.

 Dagger Zine (Tom Murphy): Mesures will probably hit some people's ears as akin to a free jazz or spontaneous composition type of record. How did you approach putting together these songs and experimenting with sound compared with maybe how you do with VICTIME?

Simon Provencher: People wouldn’t be wrong in these assumptions at all. Mesures is a record that was written very quickly. I decided to trust my first instincts for much of the record. With VICTIME, our approach has always been more iterative. By that I mean that we’ll loop “embryonic” parts over and over again, slowly changing elements, morphing the composition until we found ourselves happy with how everything sounded together. I’m still very much into this way of writing, but Mesures was a much more immediate affair.

For me, inspiration almost always comes from timbre, usually through loads of guitar pedals. In this case though, I wanted to see what sounds and textures I could get out of the electric guitar without using any external effects or even amplification. Timbre was still my main concern, but in a more subtle way I guess. I slightly detuned the strings and experimented with resonances, chord shapes, finger placement, fingernails, etc. I also “prepared” the guitar: I jammed objects between the strings and tied sewing thread to the strings (if you pinch the thread with slightly wet fingers and slide them around, you get eerie, reverse-like effects).

Enough about me though, another big change was that this record was made remotely with two new collaborators, Elyze Venne-Deshaies (clarinet) and Olivier Fairfield (percussion). Both of them had “carte blanche” (pardon my french) to do whatever they wanted. I can’t speak much to their personal approach to improvisation, but both of them are seasoned veterans and delivered absolutely amazing performances.

 D: Some people might think of any kind of music declared experimental is a barrier to its acceptance but your album seems to me very accessible as a form of pure expression. Do you have a sense of why your songs seem so open and, as one reviewer put it, welcoming?

 S: I don’t quite know actually. I do agree that the songs have a certain softness to them that was certainly somewhat intentional. When I did the initial guitar parts, I did set out to make something conventionally “beautiful”, or at least “not harsh”. I don’t really have the vocabulary to describe what happened there, but the resonances, repetitions and patterns definitely implied a soft mood from the get go.

I guess this foundation inspired Elyze and Olivier to also play with softer tones, to approach the music with warmth and subtlety in mind. They really “got” the vibe of the music without me ever telling them anything about my intentions. A “shift” of some kind happened when the clarinet parts were added to the drums and guitars. I felt like the mood of the pieces almost completely changed (in a positive way, of course). I think there’s something to the linearity of Elyze and Olivier’s playing, in contrast with the repetitive, hypnotic guitars that gives the music a sense of wandering aimlessness which I really love.

On the audio engineering side, I did intentionally mix the songs with a certain softness in mind. We added some warm tape saturation to some of the sounds and carved out a lot of higher frequencies. On the songs with feedback and noise, Simon Labelle, who mastered the record, made it so that when the clarinets get louder, the high-frequency content ducks out of the way a little bit. This nifty little trick does help out a lot with making the noisy songs more warm and inviting too.

 D: Listening through the album I found it resonated with the albums of Anthony Braxton and Ornette Coleman. The former of which never considered his music part of jazz though he is often associated with that form of music and the latter who expanded the range, dynamics and tonal choices of jazz. Were you inspired by in any way by those forms of abstract yet emotionally expressive music? How might you describe its impact on what you've done?

S: I totally was! I discovered Anthony Braxton through Québec jazz guitar great René Lussier. I’ve been a fan of Le Trésor de la Langue for a while and I got into his back catalog last year: his collaborations with Fred Frith, EAI stuff and more, some of which was released on “Les Disques Victo”. “Victo” stands for Victoriaville, a small city between Quebec and Montreal, where there’s a great contemporary music festival named FIMAV. Shamefully, I haven’t actually been to FIMAV yet, but I’ve loved finding recordings of some amazing concerts, a favourite being Anthony Braxton and Derek Bailey’s 1987 Moment Précieux. I was amazed to find out about this rich local history of musical experimentation and improvisation. This record was very much inspired by the whole FIMAV sound.

Coleman is another great point of reference. His records and those of his collaborators, Don Cherry being another big one, all are major inspirations. As a guitar player, I especially got into James “Blood” Ulmer’s career. I really admire his approach to guitar and the immediacy and expressiveness of his music.

 I’m probably paraphrasing it all wrong, but Don Cherry said of Ornette Coleman’s “harmolodic” approach that instead of improvising from chords, like in bebop, you’d start with melodies and improvise to create new forms, harmonies, rhythms to try and reach a certain “brilliance” as he calls it. You’d try to make the music transcend. In harmolodic theory, melody, rhythm and harmony are treated as equals, no solos, no lead and accompaniment dichotomy, no strict timing, scale or tonality.

This is both quite simple but also quite hard to actually grasp in a musical setting, and I’m far from mastering any of it, nor is it necessarily something I strive for, but it is an inspiring way to conceive improvised music for sure.

 D: The first half of the album you make great use of what sounds like atonal melodies yet they perfectly convey the mood and lend a sense of texture. What informed employing those sounds in the songwriting?

S: I’ve always written music without much regard for tonality, key, etc. My musical background is still very much anchored in No Wave and noise music, where skronky chords and weird, unstable melodies are the norm rather than the exception. When playing, I really don’t think much about it, I follow what sounds good to me in the moment.

Looking back on the recorded music though, I feel like there is a lot of nuance to be found in atonality and imperfection. Detuned chords ringing out have such complex and interesting decaying resonances, you can almost hear the frequencies battling each other. These interactions between notes and lines that fall just short of resolving are part of the magic and intrigue of abstract music. In the case of Mesures, I think there’s something special with how some of the atonal, out of tune textures and weird synths clash beautifully with the in-tune clarinet parts, making either one “pop out” depending on where you focus your attention.

 D: The second half or at least the second three songs on the album use processed drones and what some might call noise underneath or in the background, although very much a presence in the mix, of the clarinets? What do you feel this almost contrast in sounds conveyed that say a more conventional arrangement might not?

The second half of the record is basically a rearrangement of the first three songs. There’s four clarinet parts in there! On the first side, they fade in and out of focus, but on side B, everything is there all at once.

This is basically the result of me simply “soloing” the clarinet takes in my DAW (Digital Audio Workstation, the software used to arrange and mix the music). When I heard the four clarinets at once, I really fell in love with the sound.

 So I knew I wanted this to be the focal point of the rearrangement, and I knew I wanted to add something. I just happened to be working with feedback that week, so it kind of fell in place. Feedback manipulation was a technical interest first, I had gotten a new guitar pedal called a Feedback Looper, which sends some of your output signal back into the input of a series of pedals. This creates self-oscillating and rich, detailed noises that are somewhat interactive and malleable. By turning some knobs and flicking some switches on ordinary guitar pedals, you end up with an infinite amount of possible glitches and shrieking high frequency tones.

I don’t know if my ears got accustomed to it or what, but I’ve come to really enjoy the sound of this process. I also really love the tactile aspect of it, it feels kind of like an unpredictable modular synthesizer. When I had recorded the feedback improvisation, which I did in one single take, I thought this sparse, harsh rearrangement was a nice contrast with the more warm, conventional first three songs. At that point, the record felt complete.

 D: The final three songs also remind me of Philip Glass in his soundtrack work wherein he mixes the playful and flowing with the dissonant. How would you say these sounds complement each other in your own music?

S: Especially on this release, while there are a lot of sounds that are contrasting with each other, I also feel like there is a sense of shared directionality. The song Et quart is a good example of this. The high feedback notes start out in almost complete opposition to the meandering low clarinet lines, but, as the song progresses, the sounds somehow seem to merge with each other and they end up flowing in the same direction for the song’s climax.

 D: What are some other artists operating now that you find interesting and/or inspirational and resonant with what you're doing?

There’s way too many to name them all, but I’ll try! I think there’s a very interesting local-ish scene around me. I admire the work of N NAO, either her solo releases or her collaborations with Joni Void. Sarah Pagé does mind-bending music with harp and effects; I’ve had the pleasure of catching her live in Ottawa just before the pandemic started last year. Kara-Lys Coverdale is also a major inspiration, so is Kee Avil, whose live show and guitar playing blew me away.

I also need to shout out my friend (and bandmate) Mathieu A. Seulement, whose end-year list allowed me to catch up on a lot of fantastic new music, including, but not limited to Ana Roxane’s Because of a Flower, Jasmine Guffond’s Microphone Permission, Caterina Barbieri’s Ecstatic Computation and, last but not least, Holly Herndon’s magnificent Proto.

  **the three Simon photos were taken by Charlotte Savoie

www.simonprovencher.bandcamp.com