Ancient Teeth’s latest album, “HUMANIZER,” encapsulates a profound sense of interconnectedness born from Adrian Mottram’s introspection during the pandemic.
The album’s genesis lies in a surge of energy, gradually unfurling into contemplative interludes and ethereal sonic landscapes. As Mottram elaborates, “A lot of the songs are written from an intimate perspective and celebrate my feelings for different people in my life. Chris wrote three of the songs, and having his voice included enriches the overall narrative. Trish Robb singing on the album was essential as well, so she took the lead on Vanishing Light.”
Guest appearances from notable figures like Ryan Dhale (Age Of Electric), Jordy Birch (Pure), Katrina Natale (Devin Townsend), and even Mottram’s own parents imbue the album with a diverse tapestry of voices and experiences.
Ancient Teeth’s sonic identity defies categorization, blending elements of dreamy noise with raw, fuzz-laden guitars and emotive vocals. Their debut album, “Deathbed,” released in 2023, showcased a musical maturity that grapples with the weighty themes of aging and life’s lessons.
Originating in 2019 as a personal project for Mottram to channel his songwriting amidst life’s upheavals, Ancient Teeth found its footing in the studio with a seasoned lineup of musicians, including guitarist Chris Hughes (Moneen, Seas), bassist Jahmeel Russell (Red Vienna, Actors, KEN mode), and drummer Mike Duffield (Beams, Flowers From Hell). Together, they weave a musical tapestry that reflects Mottram’s psyche, supported by a camaraderie that transcends mere collaboration.
Mottram’s artistic vision for Ancient Teeth is clear: to offer a beacon of positivity and light amidst the world’s growing shadows. As he affirms, “I was put on this earth to make records and want to share that.”
Montreal Rocks caught up with Mottram to talk about the record and his use of AI to make music videos.
Watch the interview below:
Hi Adrian. How’s life in Ancient Teeth world?
Everything’s incredible. When I make these records and they’re coming out and I’m like, ‘Oh, yes.’ There’s so much to do and then I start seeing messages. The songs are reaching people and I’m like, ‘Oh my God, I forgot.’ The album’s coming out, people are hearing it. It’s not just a bunch of emails; it’s a whole thing; the people are hearing it. I’m so flattered and humbled and I feel so incredible that it’s out. Folks like yourself who are willing to give me a little bit of time to say my thing. I’m just so grateful. I feel so good. It makes everything just so lovely.
The taps were open. I was able to get the first record out, and it made sense. And the second record just flowed right out. The lyrical content, the stories were kind of all done. And there weren’t really any challenges, and it was a very fast process. So I think the difference was not being hung up on decision-making and more so flowing with the song.
What did you learn from the first album that helped you with HUMANIZER?
What did I learn? I learned that I love writing songs more so than ever and that I wanted to continue to push myself as a writer and as an arranger. I’m still always constantly trying to shed. What’s the best pre-chorus? What’s the best way to get into the chorus, out of the chorus, into the second verse? What could I do that is so satisfying from a creative perspective for myself but also for the listener? Because some people want to put on a piece of music and it’s there, it’s in the background and whatever. It was pleasant. It went from A to B and it switched to the next song. But there’s other folks that want to listen to music and it challenges them and it takes them to a place that they weren’t expecting. So how do I bridge the two? It’s a process and it’s also an experiment.
What’s the oldest song on this record?
The sequence is almost how it was written. So Feral, boom, just kind of landed. Pandemic hit. People were completely displaced and feeling alone and scavenging to hold on to whatever parts of reality. So Feral, boom. And then, as soon as that ended, I heard another riff take off, right? And so then that went right into Sacrifice. The songs just kind of flowed out in sequence. There was one sort of back-and-forth that Chris and I had about maybe trying to give the album a bit more dynamics because it started so heavy and ended so light that we thought the middle section needed a bit of a bump. So, we swapped a few songs around. But Feral was the first song into Sacrifice.
I wanted to really limit the amount of free chaos that could happen. What can you do with one keyboard? I used the same guitar, the whole record. I didn’t switch guitars. Yeah, I love songwriting.
Let’s talk about the video for Sacrifice, which you made using AI. How’s the feedback been?
For the most part, people ask me how I did it. How did you make it with AI? Did you just click a button, and it generated, or how did you do it? And so the conversations are generally about how I did it and not necessarily about what my feelings are on the technology and how it’s just completely obliterated some industries like film for myself.
It’s so much fun to just kind of make art based off of the lyrics and turn that into a video. The AI thing is to me, it’s fun. And as long as it doesn’t turn into a Skynet situation, and that’s where the government, I think, needs to come in and the sort of different aspects of control over what AI can do for governing bodies. That’s a different issue than me making some cool-looking images and turning them into videos that will grab someone’s attention. It’s a completely different issue. But I love it. I think it’s cool. I’ve been making posters for some upcoming shows. It’s just so much fun.
Do you feel a part of the Montreal scene?
Yeah, I mean, I’ve been playing here since 2002, always coming through Montreal. And, you know, there’s been a close connection to a lot of groups here over those years. And a lot of labels and friends and like the Stomp Records crew. I feel very close to the Montreal scene, even though I’ve only been living here for about four years, we’ve always been sharing the stage with a lot of local bands. So it’s an honour to be here. I really love Montreal.
ANCIENT TEETH PLAY MONTREAL ON APRIL 6TH WITH TARBOX AND RUBY SLIPPER
