Paul Anthony answers our questions surrounding Touched Fables’ Newly Released album, A Thousand Goodbyes
Paul Anthony and Jim Roditis have been active in the underground music scene in Ottawa and Toronto Canada for over a decade, releasing music on dozens of international labels. The duo recently joined forces as TOUCHED FABLES to write and produce A Thousand Goodbyes, which features Darkwave tracks built on a skeleton of dusty 1980s drum machines, minimal synths, and ghostly guitars.
First off, care to introduce Touched Fables to our readers?
Hello. Thanks for giving us an opportunity to speak about our project. Jim Roditis and I have been fans of each other for years, independently producing techno and house tracks that have been released on several international labels over the last decade. For most of the time we have been friends, I have been situated in Ottawa and Jim was living in Toronto. Our occasional collaborations were always completed via file sharing. There were multiple events that led to the formation of Touched Fables. First, we both lost parents in 2022. That trauma, coupled with a strong reaction to the recent lockdowns motivated us to join forces in a new way. We left the safe and familiar techno beats behind and picked up guitars and microphones in order to challenge ourselves and create something new. Genre-wise, reviewers have unanimously categorized “A Thousand Goodbyes” as a Post-Punk / Darkwave album, which is exactly the style we were aiming for.
You have unveiled your album, A Thousand Goodbyes. Care to share on the writing process behind the release?
After a fortuitous move by Jim and his family to Ottawa, we decided almost overnight to attempt a project that would push both of us beyond our usual writing habits. We were now free to work on tracks in a room together, and we often took advantage of that opportunity. Not having to type and relay ideas back and forth through the internet meant we were able to streamline and maximize our time together. Ideas flowed quickly and tracks were built in real time. Ultimately, it’s just more fun to be in a room together! And despite the serious subject matter, we shared a lot of laughs making this album. Early on we knew we were onto something special, so I think subconsciously we both intentionally pushed each other to work at breakneck speeds. This kept us from second-guessing ourselves and resulted in a unique collection of tracks. If we had worked on the album at a slower pace, we no doubt may have started to over-analyze things or researched and reflected the current scene. We purposefully resisted any outside influences, and this ultimately kept us from changing course. I feel it’s a stronger album as a result of our friendly competition.
The concept of creating an album you wish you could have made as teenagers is fascinating. Could you share some specific memories or influences from your teenage years that played a role in shaping the sound and themes of the album?
By imagining we were producing the album in the mid-1980s, we gifted ourselves with technological limitations. This gave us a measured canvas and structure to work within. Back then, we would have only had access to a simple drum machine, a synth, a guitar, and a microphone. This became our template. Nothing modern. Today, producers have access to unlimited sounds and recording capabilities, which has a huge influence on how records are made and sound. The goal of our forced sonic minimalism was to give the record an air of vintage authenticity. Our album is truly a period piece purposefully set in the past. As well, never having written or produced Darkwave tracks before meant we really did feel like teenagers exploring something new together.
A Thousand Goodbyes has a thematic focus on loss and nostalgia. How do you balance exploring these heavy emotions while ensuring the music remains accessible and enjoyable for listeners?
That’s a great question. The album could have easily been a deep, depressing unlistenable affair. In a sense, Darkwave is the perfect term for this music, as it is an amalgam of perky danceable New Wave music coupled with dark melancholic lyrics and themes. While producing the album, I chose to make the lyrics relatable, yet not overly explicit. The songs can be equally enjoyed from a lyrical standpoint, or function solely as something that is enjoyable to dance to. By carefully balancing the intensity of emotions within a familiar nostalgic framework, we hope the music becomes a channel for shared experiences in either case.
The inclusion of photographs from your youth, including a high school yearbook photo of Anthony’s girlfriend who tragically passed away, adds a deeply personal layer to the album. How did these personal memories influence the creative process, and what message or tribute were you hoping to convey through these images?
Placing the album in a specific time period in the past gave us free rein to revisit who we were at that young age, and explore thematically what was paramount in our lives at the time. In my case, a life filled with stress and anxiety over complicated relationships with girlfriends in high school. I was (and still am) a rather sensitive person who was attempting to navigate some difficult situations that were out of my adolescent depth at the time. I think we all occasionally reminisce about incidents that happened in the past that we wish we could go back and change. Writing lyrics for this album in many ways forced me to return to certain events, and say the things I wish I had said or acted differently. Personally, this allowed me to come to terms with some of the unfortunate occurrences that still haunted me as an adult. Giving these memories a name, and committing them to audio means I can now choose to revisit them when I please, as opposed to carrying them around all the time. By exposing these traumas, I can finally claim ownership of their influence over me. In terms of the old photographs included in the album art, I feel they support the narrative as an echo of the past that exists inside the present.
Reflecting on the entire creative journey of this album, are there any unexpected moments or challenges that stand out, and how did you navigate them to ultimately achieve your artistic vision?
The production of the album itself was completed without any major challenges. However, as anyone working in isolation in new areas can attest to, we were constantly questioning the value of our work. Without feedback from our usual musical community, we had no idea what to expect in terms of a response to the album. Happily, Jim and I are overwhelmed by the universal acceptance by the Goth / Darkwave community. Locally we have been supported both on air and have been invited to play events by a new group of friends. “A Thousand Goodbyes” has received positive reviews and plays on FM radio in half a dozen countries around the globe, as well as being playlisted on various YouTube channels. We are truly humbled, and feel it’s a welcome affirmation of not only being understood but as a confirmation of the authenticity of our work.
The decision to reveal your singing and songwriting role to your wife at the inaugural live gig must have been a significant moment. Can you share her reaction and how it influenced your perspective on the project moving forward?
Having never sung before, I chose deliberately to record my vocals when my wife and family were out of the house. At first, this was purely a conscious decision to avoid embarrassment, as I had no idea if I was actually capable of recording anything of value. But after a few tracks were completed, coupled with positive feedback from Jim and a handful of friends, it became clear that we would be able to complete an entire album’s worth of material. There came a point during the process when I realized it would be hilarious to not only continue to record my vocals in secret but keep the entire production of the album under wraps. Upon completion, boxes of CDs, cassettes, and vinyl were secretly redirected to Jim’s house for storage. Next, the idea of playing the album live at a release party with my wife in attendance came into play. I enlisted a few friends to capture my wife’s startled reaction at the gig, and luckily it was one of surprise and joy rather than embarrassment. Her positive response was for me the ultimate validation of our music. We have been a couple since I was 20 years old, and in my mind, there was no better way to honour our relationship than by gifting her with a surprise.
Looking back, if there’s one message or emotion you hope listeners take away from A Thousand Goodbyes, what would it be?
We hope the tracks on this record invoke a sense of introspection within the listener as a pathway to confronting longing, regret, and loss. The essence of the album isn’t solely about sorrow; it’s an intricate mix of emotions – despair intertwined with resilience, darkness infused with beauty. It’s our belief that people are more similar to each other than they are different, and as such can connect through shared experiences. At its core lies an acknowledgment and acceptance of the darker facets of the past, urging listeners to find solace and even empowerment within the shadows.
What’s your favourite thing about being musicians in Ontario?
Jim and I are so fortunate to be working in Ottawa. Unlike the big cities, there’s a sense of community and kinship among artists across multiple genres. Everyone knows everyone else. There’s a palpable excitement within the smaller scenes, where emerging artists such as ourselves have genuine opportunities to showcase our work. As a result, there is regular cross-pollination and support from other artists and venues, rather than competition. In Toronto for example, there are established cliques that operate with an overemphasis on marketability that prohibits new acts from breaking through. Many are known for constantly recycling the same acts from within a small incestuous pool.
What do you have up your sleeve for 2024?
After a handful of successful local shows, we were planning on sharing “A Thousand Goodbyes” to a wider audience across Ontario and Quebec in the new year. However, unexpected serious family health issues have put a hold on any plans at the moment. Jim and I are grateful for the kind words and support we have received so far from our new fans around the world, and we hope to showcase our music live to new audiences as soon as we can. Thank you for your time.