Discography

The work

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

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M.O.T.H. (March Of The Humans)

Venomous 21st Century Electronic Body Music

While ‘All Under’, Sissy’s first album, was a personal piece about love and loss, their second ‘M.O.T.H.’ (March Of The Humans) is their socio-political statement. With it they avoid the dreaded sophomore jinx.

The subject matter on ‘M.O.T.H.’ has expanded and matured to encompass feelings of loss from hurricane Katrina, apathy in society, corporate culture, greed, and a general ‘march’ toward a moral and cultural decay of humanity as it pursues the material. It is no wonder that the sexual tension from ‘All Under’ has been largely replaced with a smoldering cinder block of aggression. It’s a fire that burns slowly throughout the album while still allowing for several different flavors to permeate the work. Overall, the tracks are colder, more menacing, mechanical and even cynical. For this reason, ‘M.OT.H.’ sounds even less compromising than ‘All Under’. While a few tracks still claim Trip-Hop, there are additional genres explored here, like Drum & Bass and Electronica – which can only be broadly categorized as such.

‘M.O.T.H.’ has Sissy exploring new ground and venturing beyond conventional categorization. As is a hallmark with Sissy, the drums still thump and the bass still throbs, but in more variety here where the BPMs range from 60 to 162. In addition, Williams’ vocal performance is varied here and the results are dynamic. Not lost are the personal moments where Williams lets it all go on tracks ‘On My Own’ and ‘Stay’, which are delivered in what is becoming Sissy’s emotive signature fashion with Trusz’s piano and programming. These are welcomed moments amongst the cold aggression of the album and balance ‘M.O.T.H.’ out perfectly.

With their second album, Sissy has created a work that is expansive, poignant and daring enough to reinvigorate the most jaded Electronica fan. ‘M.O.T.H.’ is 21st Century Electronic Body Music.

Other outstanding tracks on ‘M.O.T.H.’ include: ‘Acid Cake’, ‘All A Waste’, ‘All Of Me’, and ‘Expiry Date’.

by Cazembe Abena

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March of the Humans

Home

Jo had written the original version of this track after the flood in New Orleans in 2005. The track was originally written for All Under but I couldn't figure out how to develop the demo into something that we both liked. It was sparse and minimal and everything we added seemed to make the track weaker. Our struggles continued while trying to develop it for M.O.T.H and the track subsequently evolved into several other tracks throughout the process. We decided to pursue this version largely because we liked it as an album opener, though we did end up rewriting the chorus at the last minute. There are 6 or 7 versions of this song, we both really love the original and will likely release it somewhere down the line.

Long Distance

This track also exists in a few forms. We had settled on a lighter version of this until rediscovering this one completely by accident. The track hid for a year, mixed and all, and we had completely forgotten about it. Frightening. The swirly guitar bits come from our friend Steve Stepanic, who blanketed the track with a variety of noises from his various guitars/amps and pedals. Always fun, organic sessions with very little production. Multiple record passes top to bottom, over and over until we lock into something we like. The children's choir was an early idea for the track. We assembled 6 kids from friends/people we knew around town and recorded them at Cherry Beach Studios in Toronto in the summer of 2008. We were always on the fence of whether or not to use them but in the end I forced my will onto Jo. I'm still not sure that she likes them.

Acid Cake

Without giving away specifically what the track is about, Acid Cake was written with a particular human in mind. An early M.O.T.H sketch that hasn't changed a great deal from the original demo. The synth bits came from a Moog Voyager, Nord Lead 2X and Oberheim Matrix 1000. The bass was played live and replaced a static droney baseline that was in the original version. Jo and I collaborated on lyrics, and lyrically the track represents one of the pillars for the overall message we're trying to convey on the record.

Fool Around

A complete pain in the ass. The original version of this was constructed entirely on a circuit bent Casio SK1. For those of you that don't know what that is, it's a little keyboard that came out in 1985 that could record your dog barking and then play dog bark sounds back across the keyboard. Nowadays people buy them, modify them and sell them to people like me. We bought one a few years ago and totally fell in love with it. It only records 2 seconds of audio at a time so we recorded the vocal one line at a time and mangled each of them differently with the various switches and buttons on the keyboard. We really wanted to see if we could do the whole track with the Casio, but in the end we always wanted to beef up the sounds. After allowing ourselves to use other gear on the track the song evolved over 6 or 7 different versions until we ultimately scrapped it in the beginning of 2011. As the record neared completion we felt that we needed a lighter track to break up some of the overall aggression. I went in to the studio a couple of weeks before mastering and essentially remixed the track, stripping it of everything but the vocal and building a dub version in one day. This was the version of the track that was mastered with the rest of the album, and to be honest I still wasn't sure. As we started to shop the record around my concerns were confirmed by two close friends who felt that the track was a little outside of the sound of the rest of the album. So once again I found myself in the studio tearing the track apart. I threw the 'we need a lighter track' mandate out the window and spent two full nights rebuilding. I remember being angry at Jo for something and tapped into that. I doubled her Casio-ed vocal with my own, vocoded it, and started layering in all of the synth bits and swells with the Moog Voyager, which were then Sherman-ated. Jo's nursery rhyme vocal in the bridge was the last thing to be added. I often wonder if I create drama or a scenario in my life to feed a required emotion in the studio. Without the personal drama of that week I doubt that I would've been able to connect the message of the vocal to it's appropriate tone musically, an often difficult and elusive process.

On My Own

In the summer of 2010 we had grown tired of making the record. Crushing defeats, tracks that we had put so much effort into weren't developing into anything we were happy with. We had just mastered for the 2nd or 3rd time, it was 4 in the morning and I was listening to playback of the record in the studio, painfully aware that it wasn't finished. I decided to fuck off into the woods of Northern Ontario for a few days alone to figure out how to proceed. Jo wrote the sketch of the track over those 4 days while I was away. The sketch had obvious potential for both of us but presented some initial challenges. I wanted to keep the vocal performance but it was incredibly noisy having been recorded at home, and we were a little unsure of the music. While at the studio one day we discovered an unused upright piano in one of the adjacent offices in the complex. The landlord agreed to let us use it and one night the piano part for the track appeared quickly and easily. I mic'ed the soundboard with a Sennheiser 421 and recorded the slightly out of tune piano in 1 or 2 takes. I de-noised the vocal with the iZotope RX plug in and ended up blending the piano and vocal together through a Roland Space Echo which solved our noise issues and gave the track the distant feel that we were looking for.

All A Waste

Another track with at least 7 or 8 alternate versions. The one on the record is an early version, rediscovered in the months leading up to the record's completion. We kept the heavily Sherman-ated drum bed and verse vocals, rewriting the chorus and changing the overall arrangement in the spring of 2011. While not the most musical version of the track, we went with this version as we both liked the feel. The live drums were played by Jo in a large room years ago, captured during a piano record for an earlier version of the track. The crazy piano spin down in the middle of the track was accomplished by feeding a piano part to the Roland Space Echo and manipulating the Repeat Rate in real time. A happy accident that would be difficult to capture again.

Imminent Rampage

One of two versions of the track. The original was born out of frustration for where we were at in the process of making the record. We started with guitar and bass and laid down 3 chords at 162 bpm over a punk drum loop. We did the vocal the same afternoon. The drum loops were later replaced with real drums played by John Obercian. It was essentially a 2 minute punk track that encapsulated our feelings towards the sell out culture we all seem to be immersed in. I wanted to put this version on the record, it's raw and immediate but no way was it fitting into everything else we were working on. Shortly after I ended up bailing on a 9-5 gig writing music for hire. I walked away from a great studio, brought all the gear home and turned the living room into gear central. This is where the track morphed into it's current version. The track was written while watching the under water camera feeds from the oil spill in the Gulf of Mexico. I always liked the way the track looked to those images. We plan to release the original as a B-side somewhere down the line.

All Of Me

This is the original version of the track. We veered one way to the left with an alternate version but ended up returning here after a year or so of living with the other one. One of the first sessions where we reached for guitars first. We had the drum track built, and laid down the bass and guitar parts relatively quickly. Steve O provided guitar overdubs, and we again used the children's choir in the chorus. All in all one of the easier tracks to realize on the record.

Expiry Date

A last minute hail mary. Expiry Date was one of the original demos provided to Global Underground for record 2 way back in 2007. It was nothing like this, essentially a club track that had morphed over the years into where it is now. Stripped bare to the vocal in early 2011, a drum track was created and the new upright piano was utilized to completely rewrite the melody. The track came together quickly after that and we ended up using the original vocal take recorded at home on a laptop in 2007. Thinking about the subject matter it's difficult to fathom how we developed the track originally as an uptempo club track.

Stay

Originally written as a love song, the evolution of the chorus from sweet to sour is the song's most dramatic change from the demo. Chord changes were originally marked by synth pads with piano and drums being added as the production process evolved. The piano melody was rewritten several times over the course of production, while the drums were added last. Steve O again provided guitar textures, adding the ebow ambiences that appear throughout the track. The perspective changes in the mix were accomplished by printing the distant sections of the track, piano and vocal, through the Roland RE301 Space Echo. We very nearly replaced the sampled piano with our upright, but in the end the idea ended up a casualty of producer burnout and was never pursued.

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March of the Humans

Coming Soon.

March of the Humans

HOME

On a Saturday
And all the waiting
A delay
All is failing
Don't know the way
Looks all the same now
End this rain fall

The dead at night
Just float away
And all the rain
And all the rain now lays
Now lays over life
Where we'll find

Home home way out
What is left of
Home home way out
What is left of

Now whisper loud
We need you fighting
And all the rage
Is all you have
What is left of

Home home way out
What is left of
Home home way out
What is left of

LONG DISTANCE

See me only for all my sin
Like you never would do the same
Look again I'm like your loneliest self
Wrap my arms around and pray for something safe

We're wound up tight
We are long distance

Breeding lies to take what's been taken
Bleeding out to save the forsaken
Light the fires to drive the darkness away
Times are lost and who will be last standing

We're wound up tight
We are long distance

Who you gonna tell what you know right now
If no one's listening
Show me something that you've done right now
That's worth believing in
Who you gonna tell what you know right now
If no ones's listening
Show me something that you've done right now
That's worth believing in

ACID CAKE

Freeze
Zero
And reach for the sky
Don't make me take your life
Freeze
Hero
Waste of a life
Don't make a scene
A fake, a lie

Admitted defeat
Everyones switched off
Everyones switched off
Admitted defeat
Everyones switched off
Everyones switched off

Big deal
You speak and you lie
You ache
Bleed
Break and why
Freeze
Hero
Waste of a life
Don't make a scene
A fake, a lie

Admitted defeat
Everyones switched off
Everyones switched off
Admitted defeat
Everyones switched off
Everyones switched off

FOOL AROUND

Fool around
Single file
Don't know when
Be a while

And I wait
And I try
And I want
Then I die

What else you got
Bottom line
Missed the target
Perfect one more time

And I wait
And I try
And I want
Then I die

ON MY OWN

Release all the rage in yourself
I will try to know what your saying
And I know I'll take it on
Hold on to every word

On my own in love
On my own in love

Apathy comes out in your breath
Makes it harder to hold back
I can try to fill you up
But I'll just seep out the cracks

On my own in love
On my own in love

ALL A WASTE

I'm no saviour
I'm out of air
I'm no saviour
I'm out of breath

It's all a waste
It's always a waste
It's all gonna be a waste

Couldn't make you mine
Though this time I did try
Start to move my head
Get myself out of bed

It's all a waste
It's always a waste
It's all gonna be a waste

IMMINENT RAMPAGE

Keep on working til your mind is blank
Your original turning to fake
Paper pushing taking takers tease
Telling all the wants that there's a need

No degree will make me understand
Talking garbage choking up the land
Make it happen then just call it fate
Find yourself find out when it's too late

Imminent Rampage
Imminent Rampage
Imminent Rampage
Imminent Rampage

You break yourself
Just trying to get rid of it

Imminent Rampage
Imminent Rampage
Imminent Rampage
Imminent Rampage

OTHER WAYS

No one's here you know
So why not just stay
By the back door
Alternate
With the side you came
On the way to somewhere

Someday
They will make you talk
Caught on a page
Read between the lines
Rely on other ways
Rely on other ways

No one's here you know
So why not just stay
By the back door
( Talking) Alternate
( Too late) With the side you came
( Break up) On the way to somewhere

Someday
They will make you talk
Caught on a page
Read between the lines
Rely on other ways

ALL OF ME

Recite all that was said
It billows out from my head
Guess my impression was wrong
Cause now your things are gone

Is it just the way that
This ride keeps on swaying
I can't put out the decades of fire

Cause this is all of me
Cause this is all of me
I've given all of me by myself
I've given all of me

The colour has been fading
The bite is all tainted
Somehow it took me till now
To see the come around

It's twisting and it's turning
What will come from learning
Hard to live through the pother of night

Cause this is all of me
Cause this is all of me
I've given all of me by myself
I've given all of me

EXPIRY DATE

I'm a city away
There is no time
A letter written
With no reply

Everything has one
Everything has an expiry date
Everything has one
Everything has an expiry date

The walls all come up
Caught up inside
No way out
Inhale till you can't breath

Everything has one
Everything has an expiry date
Everything has one
Everything has an expiry date

STAY

Just stay
Oh no wait
Just tired
We're ok
And the sweet
Stops the fight
Won't you be
On my side

You all make it hard
You make it hard
To hold up
I am tied
You make it hard
You're making it hard to leave

In the haze
Of all tries
Can you risk
One more time
No breaks inside
Under covers
All white

You all make it hard
You make it hard
To hold up
I am tied
You make it hard
You're making it hard to leave

March of the Humans

MOTH Track Listing and Credits:

 

Home

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Keys, programming by David Trusz

Long Distance

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Children's Choir: Joshua Donell, Thomas Donell, Tara Zammit, Amy Zammit, Julie Marie D'Angelo
Guitars by Stephen Stepanic
Keys, programming by David Trusz

Acid Cake

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Bass, keys, programming by David Trusz

Fool Around

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams, David Trusz
Keys, programming by David Trusz

On My Own

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Piano, keys and programming by David Trusz

All A Waste

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Piano, keys and programming by David Trusz
Live drum loop by Johanne Williams

Imminent Rampage

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Keys, programming by David Trusz

Other Ways

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Keys, programming by David Trusz

All of Me

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Children's Choir: Joshua Donell, Thomas Donell, Tara Zammit, Amy Zammit, Julie Marie D'Angelo
Guitars by J. Williams, D. Trusz, S.Stepanic
Bass, keys, programming by David Trusz

Expiry Date

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Guitars by Stephen Stepanic
Piano, keys and programming by David Trusz

Stay

Written by J. Williams, D. Trusz
Produced, mixed and engineered by David Trusz
Vocals by Johanne Williams
Guitars by Stephen Stepanic
Keys, programming by David Trusz

All tracks mixed at Cherry Beach Sound Suite 106, Toronto, Canada
Recorded at Cherry Beach Sound Suite 106, Eggplant 'The Palace', and The Merchandise Building Toronto
Children's Choir recorded at Cherry Beach Sound Studio B.
Mastered by Tim Young at Metropolis, London England.

© Williams/Trusz (SOCAN) 2011 Published by Level One Publishing

March of the Humans

SINGLES

Sissy - Acid Cake
Four O'clock Sun Recordings (FOSR002)
Released on March 13, 2012
Remixers: Stelios Vassiloudis, Trafik, XI

Sissy - All of Me
Four O'clock Sun Recordings (FOSR004)
Released on July 24, 2012
Remixers: Nick Muir, Sebo & Madmotormiquel, Rupert Wilsher, Stephen Stepanic