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Discography

The work

The complete Sissy catalog, including all albums, singles, remixes, and compilations from Sissy and David Trusz.

Sissy - All Under

Trip-Hop Upgrade

It’s 2007 and Sissy has given Trip-Hop a much-needed upgrade.  The first album from the Canadian duo has them reaching deep into the roots of classic Trip-Hop to create something familiar, yet innovative.  Hip-Hop beats and bass abound in this opus on forlorn love, while the emotive vocals of Johanne Williams coupled with the bombastic beats and slick keyboards of David Trusz serve to keep the album simmering with introspection and sexual tension.

While many bands in the genre have attempted to mimic the classics (with lacklustre results), Sissy have stepped into the arena carving a sound all their own.  Sissy-style Trip-Hop has a little more bite, an unapologetic metallic (read Industrial) undertone.  This is no more apparent than on ‘Start Again’ and ‘Stuck On’, where the drums are dominant and relentless.  The use of live piano, lush strings and skillfully placed guitar parts throughout the album add to the visceral impact of the sonic journey.  However, the complexity of thoughts and emotions that Sissy’s music conjures only belies the simplicity of the compositions, proving that less is indeed more.  There are no samples on ‘All Under’, which is uncommon for a Trip-Hop act, but has served to keep Sissy from sounding clichéd here.  At a time when Trip-Hop has all but disappeared and become derivative, ‘All Under’ sounds impossibly fresh while still capturing the defining sounds of the genre.

Other standout tracks on ‘All Under’ include: ‘All Under’, ‘In The Dark’, ‘I See You’, ‘So Long’, ‘Wake Up’, and ‘Nothing’.

By Cazembe Abena

Sissy - All Under

All Under

All Under

This track started as a demo from Jo that consisted of a rough vocal, kik/snare/hat pattern and a pad for the key changes. She writes on an Mbox/iBook system at her home. The piano came first, sampled piano from the Mach Five sampler, printed through a Roland Space Echo, no delay just a bit of reverb from the unit. A few pad-like elements were then added around the piano for support. The song is a back and forth between light and dark so to achieve the dark all of the pad elements and piano were grouped and subbed out to the Sherman Filterbank 2. Great for adding grit and harmonics to specific frequencies, gets used in the studio on just about everything. The drums were also grouped and sent to the Sherman to achieve the bite on the snare, and the upper mid range chunk on the hi hats. Being a 2 channel box, I'll tune the left side to the kik to add a sub frequency, and use the right side to add the upper mid bite. I'll usually end up mono-ing the Sherman return and tucking it under the original drums. The vocals were recorded with either a Neumann U87 or a Shure SM7, these were the two mics mainly used on the record. I started with the Neumann and about half way through a friend lent me his SM7 and I never went back, perfect mic for Johanne. The vocal was recorded through an API pre, into a Manley ELOP limiter in serial, through the left channel, then the right channel, and finally into a dbx 160SL (blue) compressor. I really wanted Jo's vocals to change with the mood of the song and after trying a number of processes I ended up running sections through Melodyne and altering the formant parameter. It's a very subtle process but it made her vocal sound sadder and more hopeless. Easily the most frustrating piece of software I've ever seen in terms of usability, but ended up getting the result I needed. Most of the synth stuff came from a Nord Lead 2X and the Atmospheres plug-in. The little random bits are pieces that came through the Roland Space Echo. When I'm looking for the little transition sounds and ear candy I'll usually just start bussing elements of the track out to the Echo, muting and unmuting the sends. There's a great feature on the Roland called 'sound on sound'. Fire a sound to it, get the delay in time, then fire a different sound to it and the delay lines will start piling on top of each other. You can lose hours doing this and I did on this song. I record the different delays crashing into each other and every now and then you get a sympathetic hit or rhythmic pattern that works. Chop it and find a place for it. As far as the mix goes, for me it is very much a part of the writing process, so when the song is written and produced, it's usually also mixed. I mix in Pro Tools, on a HD2 Accel system, using mainly the Pultec EQ's and the Fairchild compressors.

Start Again

Started as an acoustic guitar and vocal demo, ending up somewhere completely different. The drums were the first element to be added, sourced from my sample library, then heavily processed through the Sherman to add toughness. Once the drums were in, the acoustic guitar sounded a bit soft so we canned it and changed the key of the vocal. The pad lines that start the track were sourced from Atmospheres and run though the Space Echo to achieve the constant modulation and slight out-of-tune factor. The electric guitar pieces were actually recorded for another track. I'll often grab bits from other songs that haven't been used and fly them in, shift them around, pitch them, mess 'em up until something locks into place. The main guitar line from the break down inspired the bassline and those two elements are the keys to the track. The bass sound was the result of running a clean Nord bass through the Fairchild compressor plug-in with the output reamed so that it's pinning the channel in Pro Tools. I tried distorting it a thousand different ways and couldn't get a tone I liked as much as this one. Most of the little bits again are pieces from the Nord run through the tape delay. The vocal was recorded with the SM7 through a Universal Audio 2-610 mic pre into a dbx 162SL (purple) compressor. Jo has great pitch, so very little pitch correction was needed. Minor pitch correction was accomplished in Autotune's graph mode to ensure no 'Cher-ifying' of the vocal.

Anyone But You

What a nightmare. In Jo's apartment, she played me this vocal on a micro cassette player that she recorded while in the tub. I instantly loved it, it reminded me of one of those classic vocals from the 40's or 50's. I took it into the studio, loaded it in and started building the drums around it. There was obviously no timing reference so it took forever to get it in time, and even now I'm not sure that it is, but I love it. Everybody's first reaction to this tune is 'I don't get it'...I love that. Melodically I had originally laid the string sample from the breakdown throughout the entire track and it mostly worked, however there were a few sections that were grinding so we decided to strip it out and rework the melodic support. Johanne came up with the rhodes part and it really glued the whole track together. The vocal recording had spikes and clicks throughout the whole thing and the pitch was all over the place. The whole vocal had to be cleaned, limited and tuned extensively to ensure that it was tight with the absolute pitch of the rhodes. Why didn't I just re-record it? I really loved the sound of the vocal off that shitty tape and was pretty sure that I wouldn't be able to duplicate it. After it had all been cleaned up, I decided that I wanted to double it clean to give the track a lift in the second verse. Jo and I have heard this track 5 million times and we still can't sing along with it so you can imagine how difficult it was to double the performance of the taped vocal. A hundred takes, a thousand edits, and countless hours tuning. At this point since I had the clean vocal I attempted to process a dirty one from the clean one, the advantage of course being that the two vocals would line up beautifully, but as suspected could never get the sound of the micro tape. I even bounced the clean vocal onto the tape only to realize that the micro tape does not run at a constant speed, throwing the timing of the vocal off. Argh. Eventually it all worked, I filled the track in with synth lines and sounds from the Roland Juno 106 and Nord lead 2X. To build the drums in sections I again utilized layers of drum passes through the Sherman Filterbank. The vocal delay throws are returns from a Korg Stage Echo.

Wake Up

Another demo from Jo's Mbox. And another track that really kind of went somewhere else once we started playing with it in the studio. Of all the tracks on the record, this one probably came together the easiest. Roland 808 drum samples, a loop that we didn't intend on keeping but kind of got used to, 3 kicks, several hi hat patterns and chopsticks all make up the drum bed. Backgrounds and leads from Atmospheres, Morphology, the Nord and an Oberheim Matrix 1000 worked with very little tweaking, something we don't usually do. The ambient vocal in the background of the pre-chorus was the lead vocal of the initial demo, and ended up working great as a background to the new version of the pre-chorus vocal. Simple Pro Tools delays in the verses, again, not much drama here, this track just kind of worked with minimal effort.

Imitation

My fav. This track started as an acoustic guitar/vocal demo. I really liked the core that Jo had developed so it was just a matter of supporting what was already there. I started by creating the 2 bar drum pattern. Looping 2 bars of the scratch guitar and vocal, flying drum samples around in Pro Tools, bussing the drums out to the Sherman so I could manipulate both in real time until something locked in. Once the drums were in, the track was actually standing on it's own with minimal elements, always a good sign. With that in mind we recorded the vocal early in the production process using a U87 through a Focusrite Red pre, then through both sides of the Manley ELOP in serial, and finally to the dbx 160SL (blue).

We recorded the guitar after the vocal at a large commercial studio to utilize the sound of the room and have access to specific gear and a specific engineer, John Naslen. Johanne played the guitar which was recorded through a Neve mic pre, Pultec EQ, and LA-2A limiter, and that was what we payed for. The guitar sounded great, and the track stripped down to guitar, drums and vocal was really working.

I then sent a rough mix of the track to my friend Steve for guitar atmospherics. Steve is my go to guy for all ambiences and noises that eminate from guitars and pedals. He sends me back a PT session with 20 some odd tracks of noise and I kill two or three days going through it, looking for the parts necessary and finding a spot for them in the track. Always a laborious task, but those parts add great colors to the track. I then had a friend play live shaker and tambourine, which I later ran through the Roland Space Echo to achieve the sound as it is on the track. The beautiful thing about the Space Echo I own is that the tape snags so if you listen close you can hear how inconsistent the delay actually is. Sometimes it disappears completely for a bar or two and that random quality makes recordings based around machines much more human. The echo was utilized quite heavily on the vocal as well. I would automate the tail ends of Jo's lines to send to the delay and record the random noise coming back from the machine. Generally speaking Jo's vocals went through heavy processing on this track. In the choruses to add aggression I copied the vocal to another track and ran that vocal through the Sans Amp plug in with maximum everything, then tucked this under the original. The cave like sound on the Theramin and vocal in the 3rd verse is simply both of those elements run through the tape delay, no delay, maximum reverb. Random synth bits come from a Minimoog Voyager and the string section in the last chorus is a heavily processed patch from Atmospheres. The last element to be added was the low repetitive bell pattern. The track was nearly completed without it and it's hard to imagine it now without that sound.

So Long

This is the first track that Jo and I ever wrote together and it's one of only two on the record that we actually wrote TOGETHER. Written in 2003, this track started with drums. Creating a pattern of audio drum hits in Pro Tools, bussing a mix of them to the Sherman for dirt and noise, then laying a single key pad from a Virus C on top. The vocal happened as the track was looping, a melody coming from Johanne with no actual words, but the shape of the words. While she worked on the lyrics, I played the Theramin part in (actually a Virus preset as well), then the dark bell melody. Within one night, the core of the track was there. Steve came in for a guitar session soon after and put down several tracks of ambient noises and melodic bits. It was this session that introduced me to the genius of the tape delay, watching Steve run his guitar through the Korg Stage Echo. I experimented with basslines but found nothing to compliment the low end rolling built into the Sherman-ated drum track. Yet another beautiful feature in the Sherman: Send your kick to it, find a sympathetic frequency, then apply a delayed attack and long release to it. Instant bassline. The track hasn't actually changed much since it's inception. The vocal on the track is the original guide recorded in the same room we wrote it in, recorded through a handheld Shure SM57. To hear that vocal solo-ed is to hear computer fan noise, chair squeaks, but if it ain't broke...

For the album I re-mixed it, ran all melodic synth pieces through the Roland Space Echo, more for character and space than to add delay, and did some minor pitch correction on the vocal.

I See You

Pretty much a demo for the Sherman Filterbank, and a work in progress for 2 years. Jo initially had the vocal for this and together we built the drums so that we could lay the vocal down to something other than a click. I had rented a Super Nova 2 to check out and that's where the basslines originated from. Really loved the sound of the Nova however couldn't afford it, so I pillaged it, and returned it the next day. Within a couple of days we had the drums, basslines and rough vocal laid down. The percussion tracks were rhythmic patterns processed through the Sherman to again add some grit, and soon after we recorded the actual vocal. The orange vocoder was used to treat the verses. This was more or less the original incarnation of the track, and this is how it appears on GU Afterhours 2, labeled the dub mix. As production for All Under neared completion Jo and I felt that this track was kind of the lame duck of the record, it sounded soft compared to what we had been writing for the previous months.

So one day with a few days to go before our mastering date, I went in and just started grouping elements and bussing them out to the Sherman. Sure enough, the drums started to get tough, I found a frequency that gave the kick balls, and the mid range started to get chunky and dirty. I took Jo's clean vocal in the second verse and repeated the Fairchild output ream trick (to a lesser extent) to add aggression to her vocal. I Sans Amp-ed the choruses and dumped the double. I sent the pads to reverbs and distorted the reverbs. And lastly I tailored the back end to make it a little more DJ friendly. And presto, within a day or two the track had the sort of aggression that was present in the rest of the record.

In The Dark

The other track that Jo and I wrote together for the record. This is one of those tracks that has been 15 other tracks before ending up where it did. The vocal has been in several different keys, at several different tempos and that is fairly evident in the actual tone of the vocal. If you listen close, you can tell it's been processed five thousand times. Very simple drum part, mixed and run through a TC Fireworx, then through the Space Echo to give the kick that nicely mashed tone. You can hear the tape delay doing something to the snare every now and then, we liked it and left it in. Simple eighth note hi hat pattern printed through an Akai MFC 42 for phased and filtered movement. The synths are all from a Nord Lead 2X and a Roland Juno 106, and the creation of those parts were some of the most memorable moments in the creation of All Under. Jo was on the Nord, I was on the Juno and it just clicked. We laid the parts in, no quantization, live filtering, and truly had one of those moments that can't be re-created. Believing that I couldn't leave midi alone un-quantized I later went back to the midi to put it into place, only to revert back to the original recordings from that night. All of the little supporting synth parts, such as the one at the top of the track were robbed from earlier versions of the track. The stutter on Jo's vocal in the break was accomplished by feeding a tone chopped rhythmically, pre fader send, into the side chain of a gate on the vocal track. The vocoder support on Jo's vocal the second time around was done through a TC Fireworx.

Stuck On

Another track that grew out of parts. Originally written in 2003, the current version began with the drum track, a simple drum pattern processed through the Sherman. The vocals were re-written to the current drums with no melodic information present. Jo sent me the guide vocals which I flew into the session, and from there I wrote the piano part. We then tracked the vocal and at this point the track was still pretty much a skeleton of drums, piano and vocal. We tracked the vocal with an old Tannoy ribbon mic through the UA 2-610 tube mic pre and into the dbx 162 SL (purple) compressor. At this point there was no intention of making the choruses big, and the vocal was not recorded that way. Often when I'm at a road block creatively I start playing with the drums. I started running mixes of the drums through the tape delay and eventually started building layers of various sizes, giant snares, boomy kicks. I printed the piano through the tape delay for a slight random bounce. Soon the track started to take shape dynamically. I wrote a subby rolling bassline for the chorus and layered the Space Echo-ed drums on top. I keyed the bassline compression to mash when the kicks hit to keep the kicks clear. I ran the bassline through the TC Fireworx for additional sub information. I split off Jo's vocal in the chorus and fed it through the Sans Amp plug-in for distortion, then applied long delays to it. Presto, big chorus. I wrote a Theramin part, a preset from the Minimoog Voyager, and ran it through the tape delay. I pillaged guitar parts, rises and swells from earlier versions of the track, recorded from my friend Steve. In the second verse for a subtle lift I Sans Amp-ed the bassline and laid it underneath for that transistor radio sound. The squirrely drums at the end are one of the passes through the tape delay, playing with the delay speed knob.

Nothing

A vocal/piano/kik/snare demo from Jo's Mbox. Mach Five stock piano, Roland 808 samples for drums. Space Echo'd the piano. Added a subby bassline to work around the kicks. Fattened Jo's original drums through a TC Fireworx. Sent the snare through the tape delay for the off time snare pattern. Again utilized the sound-on-sound feature of the Roland Space Echo for the odd little piano bits, sending different riffs to the unit at random small intervals and recording the resulting criss-crossing delays. The vocal on Nothing is the only vocal on the record that is actually the guide recording, recorded in Jo's apartment. We did re-record the entire vocal but after comparing the new assembly to the guide we found that the emotion was better in the guide. A tricky song emotionally because of the range of emotions covered. The vocal was recorded through an SM7 through the Manley VoxBox. Minor pitch correction on the vocal was done with Autotune in graph mode. Sonically, the only track on the record that I would like to remix. Mixed several times and never really got it to where I wanted it.

Can't Save You

Unique in that the music for this track was written before the vocal. My girl at the time told me she was leaving for the weekend and might not be back. I wrote the skeleton the next night, piano, pads, bells, drum track, and sent Jo a rough arrangement to put vocals to. Within days she had something written and we got to work putting the vocals down. I was so worried about getting in the way of the performance for this track that I set her up in an adjacent studio so that she could record her own vocals. We used the U87, through an API pre into the dbx 160SL (blue). She provided 7 or 8 takes and most of it was there. We did additional overdubs in a completely separate room using a different mic pre which presented some matching challenges which were overcome with corrective EQ and compression. Once the vocal was assembled I sent Steve the track for guitar overdubs. He recorded guitars in the basement of his home into his Digi002 and sent me back a Pro Tools session, again 20 some odd tracks utilizing every pedal in his arsenal. I spent two days sifting through it, grabbing bits, pitching them, moving them around until I had what I needed. I added live egg shaker, minor keyboard parts, and spent a great deal of time mixing and remixing the track. After mastering, I ended up reverting to an earlier mix of the track. The vocals were less produced, not pitch corrected, while the drums were considerably more forward in the mix. This mix felt much better and was a valuable lesson in over wanking, one which I would soon forget as we moved into the second record.

Sissy - All Under

All Under

Reception

While 'All Under' was certainly a critical success, it's under the radar status helped to minimize it's commercial success. Ben Rayner of the Toronto Star: 'How has this little jewel been sitting so quietly in our midst?' Big Shot magazine, who had also put the band on the cover said that 'This might be the most emotionally wrenching album since Portishead's Beth Gibbons declared 'Nobody loves me, it's true.' A sly produced trip-hop/downtempo classic that slipped through everyone's cracks.'

Not everyone agreed though. IGN's review called All Under 'more frustrating than interesting. Sissy ultimately sounds like an experiment to see how far to push a decent song before listeners will give up.' Danny Turner of Future Music, while still giving the record a 7, stated that 'All Under' begins to suffocate by the darkness of it's corrosive electronics.'

A sometimes polarizing album however enjoyed mostly positive reviews. 'BPM magazine called it 'one of those surreal albums that spawn the fine line between daydreams and magic…moody, funky and utterly superb.' While Dustin Michael of about.com stated that 'All in all, Sissy has managed to create a fantastic sound for themselves; the lyrics are thoughtful and pensive, the vocals are executed with vibrancy and emotion, and the construction of the music as a whole is utterly outstanding. This album will undoubtedly go in my list of Top 10 albums of the year.'

All Under

ALL UNDER

Going by sea and I won't have a name
I'll stay tight the tide is in
Don't even know what I've done all day
Watching it getting cloudy again

And I feel it on the way
It's the dark I can't take
I wanna feel it all the way
Until I'm under I'm all under

And you're seeing only light
I don't know why
And you're seeing only light
I don't know why

And now and how you know that it's been said
All of your words can dive right in
It's useless me swimming my way there
No one will come so I'm just gonna lay

And I feel it on the way
It's the dark I can't take
I wanna feel it all the way
Until I'm under I'm all under

I've done I've done
I've done what I hate
I don't know think I'll just float away
I've done I've done
I've done what I hate
I don't know think I'll just float away

And you're seeing only light
I don't know why
And you're seeing only light
I don't know why

START AGAIN

I'm sure to have you today
In our usual place
Where we're locked away
And you won't leave
And you can't be replaced
No one will catch me eye
Oh they've been taken away

You hear what I'm saying
I'm saying I can't escape
When you want and you want it
And you take and you take

You know you and I
When this songs at it's end
Will I die in your heart
Or will you start it again

What's so sad about me now
A feeling I just can't shake
I can't die satisfied
I will take if desire is safe
Look at your soul in the night
As it still waits for that day
Leave what you stole on the side
So they won't give it away

You know you and I
When this songs at it's end
Will I die in your heart
Or will you start it again
Darling you and I
As we just fade away
Will I die in your heart
Oh it's just such a shame
Such a shame

ANYONE BUT YOU

I won't give it up
To anyone but you
Not anyone for me
I won't give it up
To anyone but you
To anyone like me
I'm stolen taken by
Want everything you've got

Hey I saw
Hey got to say it to you
Hey coming back to stay
Hey no one will do

I won't give it up
To anyone but you
Not anyone for me
I won't give it up
To anyone but you
To anyone like me
I'm stolen taken by
Want everything you've got

Hey I saw
Hey got to say it to you
Hey coming back to stay
Hey no one will do

WAKE UP

Wake up
Don't close your eyes
The time has come to say good bye

Turn around
And face the past
It's coming close to the end at last

The haze is clearing
You strain to see
Oh where have you been
You've plunged in too deep

Wake up and put up a fight
Only you can make it right
No one here to push you down
Come on and turn it all around

Stop right there
You've gone too far
You know I'm right it's gonna be hard

Wipe those tears
And draw the line
That dark black night will be left behind

The haze is clearing
You strain to see
Oh where have you been
You've plunged in too deep

Wake up and put up a fight
Only you can make it right
No one here to push you down
Come on and turn it all around
Wake up and put up a fight
Only you can make it right
No one here to push you down
Come on and turn it all around

IMITATION

Sending you away
I can't stand to see me crying
I'm tired of loving in vain
Your sweet words will drown in this storm to come
Look what you've done

Didn't think it through
If I stay I will die here
Thought I could hide it away
I was such a fool and now I will pay
Won't go away

Can you see inside
I'm breaking down
No one can help me out

Living in my head
Was it all just one sided
Stop saying maybe one day
It's over now and I have no say
And it's not ok

Can you see inside
I'm breaking down
No one can help me out
No one can help me out
No one can help me out

SO LONG

And I must have known what I was feeling tonight
And I must have known about these things they call lies
I must have known
I'll close my eyes
And don't say no

And I must have known but it happens all the time
And I must have known dressing up my whole life
I must have known
I'll close my eyes
And don't say no

So long I'm waving
So long I'm waving goodbye
So long I'm waving
So long I'm waving goodbye

I SEE YOU

All those years passing by through my mind
Waiting for a sign that I'll be alright
For a while I'll keep fighting real hard
My fist clenched, when will the next punch make contact

I am scared of slipping
But you'll just keep holding tightly to me
Try to make me believe
I must take this bag off my back
It's dragging me down
Where I won't be found

Then I see you
Looking the same way
Looking so lost too
And you reach out for my help
Then I see you
Looking the same way
Looking so lost too
And I'm holding out my hand

I hear a voice and it sounds so familiar
It's calling to me
But I cannot speak
I feel so cold but there's no getting warm
I reach out but there's nothing to hold

Then I see you
Looking the same way
Looking so lost too
And you reach out for my help
Then I see you
Looking the same way
Looking so lost too
And I'm holding out my hand

IN THE DARK

Lovers in the dark
Love lead on
Lead us along
Lead us along

STUCK ON

Feel the ground
Feel the ground
Is it breaking
Breaking down

It's all the same
All the same to me
When you were coming out
I was on the scene
Where the trouble starts
I'll always be

I'm stuck on this lover
I'll be taking you away

Sirens sound
Sirens sound
And I'm shaking
I lay down
Lay down real still

When you were coming out
I was on the scene
Where the trouble starts
I'll always be

I'm stuck on this lover
And I won't be sorry

NOTHING

I'm sorry
I deserve it
I just wanted to be loved
Without warning
I just lost it
When you walked
Into the room
I just could not look at you
And I'm sorry

And I'm sorry
You don't deserve it
I just would or could not be so good
And I'm lonely
Don't you worry
But I cannot fall apart

And I tried to fight
And tried to fake
And fell apart
And I tried to fight
And tried to fake
And fell apart

And I watched you cry
And I knew I was right
To walk away
And I'm sorry

CAN'T SAVE YOU

Can you see in my dreams
They are filled with you
Can it be that you and me
Are just floating through

And through the dark you held me
And I felt so safe with you
Now I'm cold and I can't breath
Without the smell of you

And I can't save you
And I can't save you

Can you see in my eyes
They see only you
Can it be that you and me
Are not meant to be

And through the dark you held me
And I felt so safe with you
Now I'm cold and I can't breath
Without the smell of you

And I can't save you
And I can't save you

ALL THE WAY DOWN

Feel the dark decimate
All the things that we made
Sun will rise
Revealing what's gone from our eyes
Until we sink

All the way down
All the way down

Tears are late to wash away
To pay for all of our ways
And the wheels turn
Crush us up all the same
Lost inside

All the way down
All the way down

SO COMFORTABLE

So comfortable
Don't want to fight
Say I'm tired
Don't say you've gone away
Don't say you've gone away

Time keeps passing
While I try not to cry
Two here standing
With no further to go
With no further to go

And I can help you to decide
And I can help you to decide
To decide
To decide
To decide

So comfortable

All Under

TRACK LISTING AND CREDITS

All Under
Start Again
Anyone But You
Wake Up
Imitation
So Long
I See You
In The Dark
Stuck On
Nothing
Can't Save You

Written by J. Williams and D. Trusz.
Produced, Mixed and Engineered by David Trusz
Vocals by Johanne Williams
Keys and programming by David Trusz
Guitars by Stephen Stepanic with the exception of 'Imitation' acoustic performed by Johanne Williams
Additional percussion by John Obercian
Acoustic guitar on 'Imitation' recorded by John Naslen at Technicolor Toronto, Assisted by Aaron McCourt
Recorded and Mixed at the Eggplant 'The Palace', Toronto, Canada
Mastered by Stephen Stepanic at Joao Carvalho Mastering

© Williams/Trusz (SOCAN) 2006
Published by Level One Publishing

All Under

SINGLES

Sissy - So Long (12")
Global Underground (GU Music) UK
Released on Sept. 25, 2006
Remixers: Andrew Kelly, Mashtronic, Kahuun

Sissy - I See You (12")
Global Underground (GU Music) UK
Released on June 19, 2006
Remixers: David Trusz, Micah, Steve Porter, Audioglider