The next song off Coldform, Masks started as a “morning after.”
Izzy and I had stayed up super late with Astrolope the night before; we had been recording vocals for It Turns You On. We woke up, had a crepe breakfast and started noodling around in the studio, and we came up with the bass line and arpeggio that starts off the song using my Minibrute synthesizer. We cobbled together a structure for the music and then sat down together and wrote the vocal parts. It was the first time I had sung on a song with someone else, so it was really exciting for us. After a few hours, we woke Paul up with a phone call and said “we wrote another song, come over,” and he did.
With the tune in his hands, he laid down the climactic ending heard in the album version. Being a percussionist, he also added some of the strange drums that can be heard especially toward the beginning; the ‘ding’ sound was my favourite coffee mug, and the ‘shake’ sound was a can of nails.
I became very frustrated with my vocals on this song, and ended up re-recording myself about 6 times over. The others were more frustrated with my perfectionism than I was with the song, so I caved eventually and just left it the way it originally was.
Leaving this song to cure for a while, we came back almost a year later and recorded Paul playing the snare drum, replaced some of the samples (ie: the bass drum became a timpani) and cleaned up the mix. I added a little more “weepy” Minibrute at the end and the song was done.
Next from Coldform is A Death Over The Radio.
I started this song while in the backseat of my parents’ car on the way to see my great grandfather who had recently turned 100. It started with the raspy “respirator” synth sound and the various piano melodies, and was left as that for a little while.
I later started sequencing drums, and ended up using a lot of samples from a brush kit because I liked how fluid they felt. Underneath, the rest was essentially basic dance drum patterns.
I tried playing this one live at the release party for my first album World Makers, but it just didn’t seem right; something was missing.
I took the tune to Jesse Manou from Other Families to lay down some electric guitar. He gave me one mean take, and that’s what you can hear in the finished song.
A lot of time passed, and I had moved to Montreal for school. My Great Grandfather died and I started to think about what the song was really about. I got a message one day about the account name for one of my other projects from someone named Súsanna Herálvsdóttir. She wanted to use the name for her own project, Dóttir (pictured). I gave it to her, and discovered that she had the most lovely voice.
I sent her the instrumental to muse over, and after a few months she gave back the recorded vocals. I remember getting really excited upon hearing them for the first time- I immediately called Astrolope and told him to come over and hear them.
A lot of time and small mix revisions later, and the song was finished. For me, this was one of my favourite songs off the album and marked the first time I collaborated with someone I didn’t know in real life.