MSMR

0:00Hey, we're Miss Mr. And you're watching MSN Exclusives. So I thought we'd start with the game. Okay. Because you're called Mrs. Mr. I have 10 song titles that have either the word Miss or Mr. In It. Okay. You both buzz in by just saying your name and raising your hand.

0:47Lizzie, Max. And we don't play for free. We play for a whole Canadian $5 bill. We don't have any cash yet. Well, there you go. So this will get you coffee here in Canada. Right? So 10 song titles. All you have to say is Miss or Mr. Very nervous. Raise your hand. Say your name to Buzz in. Okay. Bob Dylan's blank tambourine man. Miss or tambourine? Correct. This is this easy. I think this is not. I'm not. There might be a few hard ones. I don't know. I don't know. Who's going to be remembering to buzz in? Alright. New game. I've got to sing it afterwards. Shit. No. It's getting over. Number two. AFI blank murder. Max misses. Miss. Miss. No. It's all Miss or Mr. All Miss or Mrs. All of a sudden I'm not nervous about Mrs.

1:32Now I understand it. There we go. Number three. Kelly Clarkson blank independent. Lizzie. Miss and abandoned. Correct. The Beatles blank moonlight. Lizzie. Mr. Moonlight. Mr. Oh, that's correct. Little apprehension there. Yes. She's just guessing. Okay. The killer's blank bright side. Wait, what was it? I don't know if that's fair. You buzzed it before you heard it. The killer's blank bright side. Miss. Mr. Mr. What are we going with here? He said Miss Burns. But he doubled up and Mr. We'll give it to you. Yeah. Stereo Lab is the band. The song is blank modular. Bing. Mr. Incorrect. Sorry, can I say that on the phone? Well, we'll beep and we'll put like a little graphic X or something on here.

2:19Graphic X. Since you got it wrong, can I buzz? Well, it's only a wonderful two. Well, we'll go for it anyway. For those who may be missed, what's happened here? What do you think it is? Well, no, I forgot. I knew what was going to happen. It's Stereo Lab blank modular. What did she say? What did she say? I didn't remember. No. No. The answer is Miss. Correct. Little Richards, Good Golly, Blank, Molly. Bing. I don't know why I'm saying Bing. Bing works here. We'll go with Bing. Misses correct. Buffalo Springfield. Came on the voice. Buffalo Springfield, Blank Soul. Lizzling. Well, Lizzie went first. Miss. Incorrect. Max.

3:05Mr. Soul is correct. Counting Crows, Blank Jones. Blank. Max wins because he said his own name. What is the answer? Miss. Incorrect. Mr. Outcast. Mr. Jones. Yeah. I know you sang two of them. That was not the song at all. That's not the melody. Listen, you haven't warmed up. Yeah, Mr. Jones, lend me your ear today. Do, do, do, do. No? I don't think so. I'll tell you that song. I'll tell you that song. Did you write a song called Mr. Jones? I'm so sure. Okay. We're going to battle that song. We're going to spotify that later. We're going to put it on the song. Okay. All right. One last one. Outcasts, Blank Jackson. Lizzie. Miss. Miss Jackson is correct. I am for a name.

3:50She is. And I think she actually won. So here is a whole five Canadian dollars. All right. To the actual point of chatting with you. So take me back to, you're looking for, to make some music. You have a record label. She sends you some music. What was it about her voice that you were just like, we need to make music together? I think I've always been attracted to women with really sort of multi-dimensional voices. That there's like this, there's the first way you listen to it. And then there's like this sort of gritty underbelly. And there's this feeling that they might fuck up at any time. It's to be good. Sorry. It's okay. I am always trying to bring out as a producer is this sort of balance between this organic

4:35sort of wildness and this electronic control. And the singers that I'm most drawn to are the ones that are constantly sort of about to fall off the edge and then they catch themselves again. And there was something about sort of the rawness of Lizzie's voice that I found really, really compelling. Thanks, man. Well to that answer, we'll flip it around too. He asked you to send him a bunch of music because he wanted to start making some music. What made you say, I'm going to throw my own little song in here with all these other people too? Well, it's funny because I didn't know Max very well. We both went to school together and we knew each other but we weren't very close. I knew he'd been making music and I had heard some of his other projects that he'd been working on. And I don't know if something about the way he reached out to me, it was very sincere and

5:21eager and just sort of looking for the opportunity to create but with no sort of next goal. I don't really know. You didn't know where you were going to take it but you just knew that you wanted to be making music. I started writing a little bit on my own but it was clearly not in the position to really explore it and didn't have someone else who I could share that sort of secrecy or comfortable nature where I don't know. So when he emailed me it was sort of throwing caution to the wind and I don't know what really prompted me. It just felt like a safe space. I feel like he'd give me an honest answer but I didn't know well enough that if he absolutely hated it I read to see him again and it was fine and it wouldn't sort of negatively reflect on me in the future. And then I was just really pleased when he got back to me and said that he was into it and it would be fun to experiment and we just went into it with no expectations of what

6:07would happen but I think just really keen to do something creative and explore our musical interests. How has that worked into the live show now that you've brought a band into these songs instead of just the two of you in your apartment making music? I think it's been, you know it's an ongoing process because Max Knight, the band is Max and me and we wrote all the music just the two of us and it was all recorded before we'd our first show and so it was definitely a challenge to how do we bring the organic and electronic elements out that we've created and the epic and cinematic nature that we've really strived to create and the recorded music to a live show and one of the first things we discussed was is it going to be just us two up there or are we going to make this a band and we were pretty adamant from the beginning that we didn't want to be on stage just the two of us with a laptop that that would sort of undermine the music and environment that

6:55we were trying to create. And so we really lucky we brought these other two musicians on board, Zach, who's an incredible and incredible drummer and Curtis who's an amazing instrumentalist, multi-instrumentalist does lap steel and auto harps and synth bass and real bass and sort of our power is combined. It really does the music justice because it very much pays homage to the very acoustic and organic elements of the music but we still have a really gritty and dark electronic under belly and twinge and glitch and warp to it and I think because we're also poor people on stage there's an energy about it. You know it doesn't feel sterile, it feels alive, it sort of gives new breath and energy to the music. And I think it's definitely, it stays true to it but it's a different experience watching it live and it's really exciting for us I think to sort of experience that side of it

7:46because we've never done that before and it was interesting to think about how it's influencing our writing process now because we had never been live performers when we started writing so now to think about how it translated what we recorded and what we recorded in this future I think is... Well that's interesting, what is changing about your process? Well we don't know yet because we haven't been writing for a little while so we're afraid of changing this. So you think it will change that? I think it did, I mean well we went back in to the record and sort of like once we added auto harp to a few tracks we were like this is so incredible we have to put this on the record so we went back in and recorded auto harp out of that to the bridge of the bass hurricane and added a few things like that. We're open to sort of starting to experiment with other ways of writing it's not just the two of us on a computer room and sort of maybe seeing what it's like to write in a room

8:35with live instruments and you know how's that going to feel and I don't know we'll sort of start to feel that out. Where do you start when you're writing? Is it beats? Is it programs? Is it synths? How does the song begin for the two of you? Do you come in with words first? It depends. And fill that in with sort of background vocals to sort of building chords and I'll pick out the chords from there and sort of write a track around that or I'll write a track and send it to Lizzy and she'll write the top line over that but we really share the sort of rawest roughest version of things with each other and then cross edit back and forth and give tons of notes and aren't or not precious about it at all just sort of a bit

9:24brutal with each other trying to find whatever's going to service the song best. So every song is really a combination of the two of us in every way. I'll let you guys go soon. So May 22nd and 23rd Toronto. But we have another game before we go. This is what I thought really game. It's just something we do call five questions. Five quick questions. One more answers. Okay. Studio. Lennon or McCartney? McCartney. Lennon. Song you've written your most proud of. Don't do up. That was good. Probably dark do up. Cool. When you hear a song what usually gets you first lyrics melody or rhythm? Rhythm. I think rhythm. In one word. Miss Mr.

10:13Lared. Mmm. That's a really deep connection to everyone's sound. That was crazy. Feel like I should leave. Let's go with that. You're clear? I'm just singing. Woo. I'm just. I'm just. I'm just. I'm just.