ROY | Interview | “Human interaction is the purest form of inspiration for me”
This Toronto based project is full of psyched-out jams and hook-laden melodies. The latest album, ‘Capitalism’, is the antithesis of capitalism itself. It is free!
Each and every song embodies the personality and sonic capabilities of the object in the song title. Many songs feature the actual use of the object itself to create psycho acoustic soundscapes capable of projecting the listener into a world run by objects, not people. Every object is owned and loved and plays a critical role in the daily life of ROY.
“Most of my albums take shape best when there is a thesis or concept involved”
I first got in touch with your music via the ‘Peace Love And Outer Space’ album. Tell us about that record, what was the initial idea behind it?
‘Peace Love And Outer Space’ was self-incepted by a series of dreams, first hand experiences and common encounter / abductee mythology. I wanted to create an album that told the story as I heard it in my brain. A story of outer world abduction, four dimensional love triangles, and the all too common suppression by the MAN!
I found it extremely interesting that you’re sounding like you’re from the psychedelic 60s, although I’m not referring to retro sound or even nostalgia, but your vibes are somehow directly connected to the original era of psychedelia. Do you think this process comes spontaneously for you?
I believe that it does. There has been a shift over the many years of music in the way that it is made. I listen mostly to older music (sometimes at a fault) and as a human, you are what you eat!!
How did ROY originally start and what can you tell us about the lineup and previous projects by members of ROY?
The origin story of ROY dates back to a hazy evening of drunken stick and poke tattoos in a bachelor apartment in the downtown metropolis of Toronto. I was playing bass in a garage rock band Vypers at the time (band still rips) and they and others that I was surrounded by (lovers and friends) inspired me to venture into my own territory of that nature. I wanted to make a completely collaborative project where I would write songs with others and make material myself and put it together. As the years have gone by mostly out of consistent impatience I have created records more and more on my own, but some still feature some of my friends who add a delightful element that I could have never harnessed myself.
Damn, your 2021 release, ‘Roy’s Garage’ is another stunner. Would you like to elaborate on the concept behind it and on that note, do all of your albums have a certain concept behind it?
‘Roy’s Garage’ is meant to be a snapshot of my life through a point and shoot camera manufactured anywhere from 1966 to 1979. Most of my albums take shape best when there is a thesis or concept involved rather than just songs for the sake of songs….for now.
What was the usual creative process for you like?
I will write a song generally pretty quickly. I feel like the longer it takes me to finish something the worse it is, that’s just me. Anyways, I will write a song and then go to my home studio and record it badda bing badda boom. Sometimes if I know it calls for another person to be involved I’ll make sure they can be around at the time of recording, or have them come in afterwards.
Do you do a lot of jamming together or how do the songs come to existence?
Most of the more recent recordings are predominantly performed by me on multiple instruments which I can’t play all at once. God only gave me two hands and two feet. My goal is to however create the illusion that I am jamming with myself on recordings. In situations where I want others to be involved (which they do often) a group will be assembled and we will exercise our sonic energy within the confines of pre-written material. ‘Universal Truth’ on ‘Roy’s Garage’ was recorded by me, Alessandro Carlevaris (Hot Garbage), Sam Maloney (Kali Horse), Damien Floria (Vypers) all at once. We had double drums, my farfisa organ and wah fuzz guitar recorded all together then did overdubs together. I had the idea for the form and chords and we executed it together perfectly!! When the band performs live there are 8 of us, and yes, we love to jam. Long answer to a short question.
Tell us about the studio you worked with?
The studio is my studio, but I allocate it a different name each time I have to relocate. When you live in a city like I do run by greedy capitalist landlords you find yourself moving frequently for the sake of a few extra bucks in their pocket. The House of Dreams is where I recorded ‘Roy’s Garage’ and ‘Peace Love And Outer Space’, and it was a house I lived at in the west end of Toronto with Harrison Forman and Damien Floria.
And what kind of pedals and gear do you use?
I have lots of stuff….I prefer not to answer for the sake of not sounding like a hoarder.
“Human interaction is the purest form of inspiration for me”
How has the pandemic been for you as an active musician? Some of them found the time to record and work more on studio material. What about you?
I have flourished creatively in this existence where I have plenty of free time to create, experiment, and work on my craft. However, I find it difficult to be inspired purely by what I can find inside myself, on the web or in physical forms of media. Human interaction is the purest form of inspiration for me. And naturally I miss bouncing ideas off others who I would regularly collaborate with.
You recently released ‘Capitalism’ on digital format. Are you planning to do a hard copy as well?
I can’t afford to personally manufacture vinyl but I can make cassettes by request.
If anyone reading this wants to make vinyl for me please reach out to me at roydoestheroy@gmail.com
Then there’s the 2018 album ‘ROY’ and ‘Sounds Of Parkdale’. Tell us about those two.
‘ROY’ is the inception album that almost feels like a compilation of the people I was surrounded by at that time. Wildly collaborative and free of vision this album is basically just me figuring out what the hell I am trying to do. ‘Sounds of Parkdale’ was a collaborative effort spearheaded by my then partner Adrienne Mountain who is a wonderful artist in her own right in many formats. We wanted to create an “ambient” or “psychoacoustic” album much like those old Environments LPs you can get for a dollar at any record store. Our slight variation was to make it themed to a specific neighbourhood and what is kind of charming about this is that the sounds of Parkdale (a neighbourhood in Toronto) aren’t always the most relaxing. You hear people out on Friday night having a time and pigeons cooing early in the morning.
What are some of the most important artists for you?
There are too many to list and I’d hate to leave anyone out.
How would you describe your sound?
I wouldn’t! But you can feel free too.
Are any of you involved in any other bands or do you have any active side-projects going on at this point?
I’ve played in various acts. Here is a list:
Vypers
Possum
Hieronymus Harry
Shirley Hurt
Let’s end this interview with some of your favorite albums.
I’ve really been digging the self-titled album by Fairport Convention. I’m a bit late to the party but it’s sick!
Thank you. Last word is yours.
It’s pretty easy to be discouraged these days. Be nice to your neighbour and to yourself and try to be mindful. You can never know what it’s like to walk in someone else’s shoes. We each live our own experience as part of a collective consciousness. I don’t condone capitalism as a socio-economic format and it will truly be the downfall of the environment.
Insurance is a scam.
God doesn’t have to be a nasty word.
Hate is not welcome, if you hate something it probably lives inside you.
If you want to change you have to embrace fear.
Rules are for breaking!
Thanks for the interview!
Klemen Breznikar
Headline photo: Liam Cosby
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