Started in 2010 as the solo project of multi-instrumentalist/filmaker Dean Tzenos, Toronto’s Odonis Odonis have quickly become a staple of the industrial scene, thanks to a series of records that, although featuring in full display the genre’s signature, clangy noisiness, never lack in the production department, often offering also a melodic component inherited from drone rock of bands like The Jesus and Mary Chain. Their 2016 album ‘Port Plague’ represents a rather obvious change in the band’s sonic trajectory, delivering a sound that removes almost entirely the previously dominant distorted guitar component, relying instead more consistently on synths and samples. We asked them a few questions in this regard:

The material from ‘POST PLAGUE” veers decidedly towards an electronic sound. Can you tell us about the synths and sequencers that inspired you while making this record?

A friend left a Moog Minitaur and Korg MS20 with us so we captured a bunch of sounds out of those. Also we were using a bunch of iOS synths like Modular and Animoog as well as some VSTs like Oberheim OBXa (Blade Runner, YES) and Serum.

The (few) guitars in the new record sound a lot more industrial and noisy compared to previous releases – what are the effects that defined this new sound?

First thing we did was toss the guitar and replace it with a sampling keyboard. We did take a lot of original guitar, synth and drum parts, filter them through back through guitar pedals and re-sampled them to make new sounds. The idea was to get out of our comfort zone and focus on electronics. Both pedal chains on the keys and bass were refined and simplified. We purposely tried a less is more approach to the whole record.


What were the pedals that had a crucial role in this new sound?

We’ve tried a bunch of boutique pedals that worked amazingly for the VERY brief time they actually worked, and it’s come full circle to loving the shit out of a simple BOSS OverDrive. ¯\_(?)_/¯.

Interstellar Overdriver Deluxe (Death by Audio) sits at the center of Denholm’s layered and massive bass tones.