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Do you like a little funk in your punk? Some boogie to go with your brash? A bit of groove in the garage? PYPY (pronounced like π, the number) are guaranteed to make you dance, smile, and scream all at the same time. Their 2014 album Pagan Day soundtracked the runways of Yves Saint Laurent, but with a new album now ten years later, the Montreal supergroup refuse to let those fashion folk have the last word. Sacred Times comes out October 18th on Goner Records, with both expansions on their previous work and new sounds entirely. We caught up with vocalist-keyboardist Annie-Claude Deschênes and guitarist-vocalist Roy Vucino after their set at Gonerfest 21 to learn more about the new album, the music scene in French Canada, and the secret to their powerful stage presence.
How did you like Gonerfest? What did you get up to in Memphis?
Roy Vucino: Complete and utter blast. Best fest. We were only there for two days so we spent most of our time on site and went to the Goner store. I had seen some of the tourist spots before, so I just hung around the show area and went to B-Side for the Saturday afterparty.
I thought your performance was a highlight of the weekend, your music just translates to the live format so well. What's your philosophy for putting on a show?
RV: Have fun have fun have fun. Enjoy the smiles, dance, and try to make people dance. Not worry too much about anything else and try to make it at least a bit chaotic so it's memorable for everyone including ourselves. A show can be a precious moment, and time flies so we try to make the best of it.
Your second album Sacred Times is out in a few weeks on Goner Records itself! What about this album are you most excited for the people to hear?
Annie-Claude Deschênes: The presence of synthesizers sets this record apart from our first one. I'm curious to see how people will appreciate the mix of electronic elements with garage music.
It's been ten years since your last release Pagan Day, what brought you all together again?
RV: Missing hanging out with each other.
What was the writing-recording process like for this album? How is making music in PYPY different from your other projects?
ACD: We started composing the album during the pandemic and completed it after the pandemic had ended. Instead of overthinking or holding back, we embraced a more spontaneous, carefree approach. We let the music flow naturally, trusting our instincts, and embracing the imperfections and unpredictability of the moment.
What's the significance of the surveillance pyramid that appears as the cover art and in the music video? It reminds me of the Eye of Providence on the American dollar.
ACD: The inclusion of the surveillance camera is a reference to the dichotomy between what is considered sacred (pyramid) and the constant human quest for novelty (camera). The continuous influx of innovative technologies and novel experiences might lead some to feel a sense of disconnection or distraction from traditional sacred places and objects. Will FOMO and the computerized world shape our future perceptions of the holy?
What starts out as a relatable tale of laundry on the album's opener "Lonely Striped Sock" turns into something much freakier, how did this track and its infernal funk come to be?
RV: We had played this one years ago at a Montreal festival called Distorsion Psych Fest put on by the folks at Mothland and we kind of sat on the tune for years. Someone had recorded the show, so we had a rough demo of it. On my end, I tried to build it up from angular funk to a Dead Kennedys surfy section and then on to Sabbath barfing out Hawkwind.
Tell us more about "She's Back" and how it's connected to and expands upon your biggest hit "She's Gone."
ACD: Both songs are about the loss of someone dear. In "She's Back," I attempted to reconnect with the other person through a Ouija board—and it worked!
"Poodle Wig" and "Poodle Escape" are another duo with such great titles. What made you come up with these?
ACD: In "Poodle Wig," I find myself trapped in a clinic's waiting room, where a woman with a poodle haircut seems to be stalking me. The tension builds as I feel increasingly confined by the eerie environment. "Poodle Escape," the sequel, is where things escalate. I'm desperately trying to flee from this bizarre situation, evading the haunting presence as the chase begins.
Are there any tracks you're most excited for fans to hear?
RV: I love "Vanishing Blinds." It's meant for vampire dance parties.
ACD: "I Am A Simulation" for the meaning of the lyrics. The song reflects on how human experience, once authentic and deeply personal, is now subject to emulation.
What's the scene like today in Montreal?
RV: A lot of post-punk and hardcore bands coming up. Cool venues, seriously good bands that don't take themselves too seriously, and enough curiosity from the general public, so you get to see tons of random faces at the shows. Lots of young bands too and that's really refreshing.
Sacred Times is out October 18th on Goner Records.