By Victoria King
Miracle Fortress is the solo project of Montreal’s own Graham Van Pelt. In 2007, Van Pelt released Five Roses, which garnered him honorable mentions from the Polaris prize and wide-sweeping acclaim. Now 2011 sees the release of Was I the Wave? which was long-listed for this year’s Polaris since this interview. Miracle Fortress corresponded via e-mail to talk about the new album.
Stylus: There’s a definite shift in both overall vibe and sound from Five Roses to Was I the Wave? What do you attribute this to?
Graham Van Pelt: I spent quite a bit of time between the two, putting a new palette of sounds together with which to write a record. I had little desire to make a similar record to Five Roses, which I enjoyed, and hoped instead to move on to ideas that would be new to me. Lots of time had passed before I really got into the new record, and my tastes have had a chance to evolve quite a lot.
Stylus: Since the release of Five Roses, what has changed for you as an artist and as a person?
GVP: I think any young person accumulates quite a bit of experience over a term like that. There wasn’t much chance of my staying in the same state of mind and wanting to work on a similar project over again. I do feel a little less green and a bit more comfortable making mistakes and taking risks.
Stylus: What are the creative advantages and/or disadvantages to working solo?
GVP: Avoiding compromise is the main benefit. Compromise can unlock new avenues between artists, but I also value the chance to follow my own ideas as far as they’ll go. I enjoy puzzling out a song over an extended period when necessary, which can be trying if collaborators are waiting to contribute. This is something I’ve had to learn about my process through experience, and it’s valuable to know.
Stylus: In recognizing the electronic influence that is strong on this album, does it change the way you approach writing?
GVP: Though this record is more traditionally “electronic” sounding than Five Roses, they were composed pretty much the same way. I used most of the same techniques, such as self-sampling, looping, my personal sound treatments, and drum programming. My approach in this project has tended towards feeling pretty unlimited in the studio.
Stylus: As we’ve seen with multiple artists with 2010/2011 releases (Sufjan Stevens’ Age of Adz and Iron & Wine’s Kiss Each Other Clean), there’s been a shift to experimenting with synthetic sounds. Does this reflect modern culture or is it merely a musical coincidence?
GVP: I’m unfamiliar with those records, but I would assume that the accessibility of digital instruments encourages artists interested in using new sounds. This has been true for at least a decade or two, though.
Stylus: When considering projects between Miracle Fortress and Think About Life, how does each outlet satisfy a musical/creative need?
GVP: I enjoyed Think About Life because I’m more of a supporting player. I felt less personal pressure and let go of expectations a little more easily. It’s fun to play on stage when your band has more energy than anyone else’s. I like the personal pressure of Miracle Fortress though, it satisfies like a solitary accomplishment does.
Stylus: What’s the best environment for listening to Was I the Wave?
GVP: I like it on walks at night, but that’s true of most music for me. There isn’t an answer to this.
Stylus: What is one thing you hope people can take from this album? What did you take from this experience?
GVP: I hope they feel free to take whatever they like from any music they hear. Pop music is best enjoyed independently. As for my own experience, I enjoyed finishing the thing, improving my talents, learning what there was to learn, feeling proud, listening occasionally, and moving on.