Based in Toronto, musical project Output 1:1:1 creates a sonic representation of what truly makes us human: our complex emotions. Although his influences includelyricists Kendrick Lamar and Laura Marling as well as hometown heroes Broken Social Scene and rock band Radiohead, Output 1:1:1’s creator Daniel Janvier employs instinct and out of the box experimentation to take listeners beyond pre-existing genre lines, pushing boundaries and journeying into exciting new aural territory. He has just released new track, Issue at Track Level ahead of EP release in November, and spoke with The Fountain about both in more depth.

TF: A new single, how exciting, what has the reception been like so far?

People have been very kind. I was surprised by little things people picked up, or how they interpreted the lyrics. Some have expressed much more abstract and interesting ideas than what I initially intended – that’s exciting for me. It feels like it’s resonating with people, which is very moving but also something I’m not used to. I was quite scared to put it out – it’s a lot more dark and heavy than stuff I’ve shared before. I’m really happy people are interested and starting to share the track. 

TF: With a title like Issue At Track Level, what can we expect from the single?

I think that title would help set a sense of unease that compliments the song nicely. I’m not sure if it’s entirely true, but I was told that it’s the code used over the Metro speakers to state that someone is in serious danger, but still has a chance at surviving. I wanted to get at that sense of desperation, and have it come up against indifference of passersby.  

TF: And it’s from the EP Retroactive Rock Record, can we expect more of the same from the EP?  

To an extent. You can expect the songs to follow a similar anxiousness that I hope is felt in different ways. The songs are experimental and effects and mood driven. I wrote them during the experience of and the recovery from a series of panic attacks. I think what I was going through internally got into the sound and style of the songs. They can get frantic, desperate, and exhaustive. It’s hard to describe the exact experience of it – the words I think of can sound incredibly vague, so I tried to convey the experience in the overall sound.

TF: And will you be promoting this with a tour, will we have the pleasure of seeing you live? 

I’ve been functioning essentially as a solo act at this point. I’ve recently brought on a few musicians to attempt to reproduce the mood of the record a little more directly than just strumming an acoustic guitar in front of some people. We have a show here in Toronto to celebrate the release on October 24th. We’ll try to share some of the show through Instagram, as it’ll be a bit of time before we’re ready to fully mount a tour. I’d like to get that started in 2020.

TF: What has been your favourite gig to date?

I once played a bar in Guelph called Jimmy Jazz. I think it was around the summer of 2015. I remember playing a more delicate song, and when I looked up there was this couple waltzing about three feet from my mic. It caught me off guard, but it was very sweet. It helped make the show feel a lot more intimate and the crowd was really supportive. I would absolutely recommend any band looking to tour Ontario try to book that place. That was with a previous band – my old bandmates from back then have been helping out on this project. Séan, who produced this EP, played drums for that group while Eli, who directed the videos we’ve done for the project thus far, played guitar and shared vocal duties with me. One thing I learned from playing one of the final shows for that band: play as loud as humanly possible. If you’re like me, and you can get distracted by the voices of bar patrons, fill the space with sound. It was something I needed to get properly carried away into wher the songs needed me to be.