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Die Antwoord are back in FULL EFFECT with a high energy new album MOUNT NINJI AND DA NICE TIME KID and with the release are wasting no time and hitting the road with it.
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Home » Sub Pop

Lights explores unknown land in Siberia

Submitted by on October 7, 2011 – 12:42 pmNo Comment

Synth-pop princess Lights is something of a total package – she has the looks, brains, heart and sound. Her style alone, ripped threads and a body adorned with ink, sets her apart from the other pretty ponies in the pack. With her second coming, Siberia, Lights employs the likes of Shad and Holy Fuck and explores an auditory topography that stretches from upbeat dubstep to hip-hop.

In the first tune on the album you say you want to “leave Canada for Siberia.” Why Siberia? Did you mean that as a lark?

It basically means we could leave home and go anywhere, Siberia even – a strange, unknown land, the opposite of home, and still be happy.

What brought that to mind for the song and album title?

The process of making the record felt like walking into unknown territory. There were moments when we were all sitting in the studio, myself, Holy Fuck, Tawgs [Salter, the album’s lead producer] and we were getting butterflies because we hadn’t heard this kind of thing before. We were just inventing as we went. It was totally freaky and exciting, which to me alludes to my fascination with this distant Siberia.

On your website you wrote that you “completely discovered yourself as an artist” all over again making Siberia. In what ways did recording the new album differ from The Listening (2009)?

I wanted to bring a certain grit and heaviness to my soft, gentle sounds for the second record. After I expressed this new direction, my manager, Jian [Ghomeshi], suggested the collab with Holy Fuck. We got together and jammed and songs started to form. From our first jam session came the actual bed tracks for Siberia and “Everybody Breaks a Glass.” I’d never seen electronic music being made in such a natural, raw way. It was freeing!

How did the collaboration with Shad on “Everybody Breaks a Glass” come together?

I’ve loved and respected Shad for years – his humility, his comfortable delivery and knack with words. He was the first person I thought of when I wanted to bring in a rap verse; in fact, it was probably because of Shad that I wanted to put in a rap verse. We’ve been common acquaintances through our friend Rob Dyer who runs the charity Skate4Cancer that I support. I emailed Shad and he was in.

Siberia has an auditory topography that stretches from upbeat dub-step and glitch-hop to pensive insightful tracks. Was your intent to deliver an amalgam of genres with the album?

I was borrowing elements that intrigued me from various genres. I loved the heavy, slow, minimalist qualities of dubstep. I loved the glitch that Holy Fuck brought. I love the peaceful, melodic tones of synth-pop. I made a bowl of my favourite cereals.

You’ve traveled the world as an artist and even before then were raised in Jamaica and the Philippines, as well as Timmins, ON. How has your worldview as a result of your travels inspired your music?

I suppose just my life experience and the things I’ve seen have broadened my outlook. It helps me look at things from a different angle, situations, feelings, solutions, and then write on these things.

What inspired you to title the last instrumental track “Day One?”

“Day One” is actually the last nine minutes of the first jam session I ever had with Holy Fuck. It was so ironic and cool to me that we had built such an adventurous electronic experience all completely live, invented as you’re hearing it.

Interview by Devin Size


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