Canada’s newest oddball singer-songwriter releases their album, Persimmon
Mortimer, Be Quiet. is the musical project of emerging Toronto-based visual artist James Knott. Named after their creaky-voiced grump of a piano, Mortimer looks to make deliriously off-kilter oddball pop music; with the masochistically wry confessional awareness of a singer-songwriter, but the absurdity of a mad scientist desperately seeking satisfaction (and never finding it).
Mortimer, Be Quiet has unveiled their album, Persimmon.
Persimmon is an album of multi-phased and orchestrally layered songs about the loneliness and isolation of growing up and growing apart—from friends and family, from society, and even your own body.
The lead single “After Dark” has Mortimer, Be Quiet. mythologizing themselves as a wounded astronaut, narrating a plea to not surrender to apocalyptic thinking amidst an uncertain future. Dueling flute solos enliven the frantic samba breakdown before the final movement of the song. “The Alchemist” is a baroque-infused electropop odyssey that revisits the iconic story of Frankenstein as a metaphor for queer narratives of body dysmorphia and parental shame.
First off care to introduce yourself to our readers?
Hello, my name is James. I’m an emerging Toronto-based visual/performance artist moonlighting a musical project called “Mortimer, Be Quiet.” Named after the creaky voice of my former piano, I make deliriously off-kilter, oddball pop music; with the masochistically wry confessional awareness of a singer-songwriter, but the absurdity of a mad scientist desperately seeking satisfaction (and never finding it).
Tell us a bit about your recent release.
Persimmon is an album of multi-phased and orchestrally layered songs about the loneliness and isolation of growing up and growing apart. From friends and family, from society, and from even your own body. Songs wade through genres, starting as baroque pop with psychedelic detours through Bossa nova, electronica, ambient, cabaret, disco, and folk, sometimes in the span of one song. Inspired by film scores, these orchestrations are embroidered with foley sounds like ocean waves, street noises, to even gunshots and dogs howling, embellishing the cinematic atmosphere.
How do you typically go about the songwriting process? Do you have a specific method or creative routine that you follow?
Most (if not all) of the songs off Persimmon were written by accident. Either by hitting the wrong chord while playing something else, or stumbling upon an interesting phrase on the piano that I would then mine over and over again, following where it would lead me. The various detours these songs would take emerged over years from disparate parts that I realized could be stitched together, or from taking on new characteristics when played in different time signatures and articulations.
For most, the lyrics came last. Sometimes even after the mixing process began. A lot of times I needed to retrofit words to these fully orchestral pieces I arranged, which required a lot of puzzle piecing and personal archeology. But the moods were present in the music, thus dictating what needed to be found in words.
Looking ahead, what are your plans for supporting this new release? Are there any upcoming tours, music videos, or additional content that fans can look forward to in connection with this project?
Four music videos have been made and released so far. I’d like to continue to make more. In an ideal world, I’d make one for each. (Funders I’m all ears!) I made an accompanying photo series for each song and would love to see that printed as an accordion booklet perhaps. (A vinyl release would also be dream – a glossy orange pressing). I’m always open to live performances, so we’ll see what the spring/summer brings. With my performance art practice, I end up incorporating a lot of these songs in live work to some capacity, even if not for explicitly “music” venues.
Looking back on your musical career, is there a particular moment or accomplishment that you consider a turning point or a highlight?
Given I’m fairly new, I haven’t done much yet. Finishing this record was honestly a major accomplishment and a source of pride. Especially given I had to fund, arrange, record, and produce it myself. That being said, working with Anh Phung and Alan Mackie, who played flute and upright bass on the record (respectively), was very gratifying. Their work truly elevated mine and gave me more courage and confidence in my compositions with their musical co-sign. Many of their embellishments remain my favourite parts to hear back.
Last but not least, it’s time to pay it forward, what upcoming band or artist would you recommend your fans check out?
Some song recs from local Toronto acts:
Koza – Train (insane blend of hyper-pop and Russian folk)
Glitter Party – Endlessly (such good indie garage rock)
Kali Horse – Eerie Descent (beautifully unfolding psychedelia)