Multi-instrumentalist, songwriter, producer, and Montréal music scene mainstay Mitch Davis steps out on his own with debut LP The Haunt, blending elements of jazz, funk, sunshine pop, rock, and a host of surprising sonic easter eggs into a soulful, personal record that brims with musicality and optimism while pondering universal themes of isolation and loneliness.

A singer-songwriter tour de force, Davis wrote all the songs and played all the instruments on The Haunt, recorded much of it on equipment that he also built himself, all done in his home studio during the 2020 lockdown. Though thematically inspired by the experience of trying to online date in the midst of the pandemic, The Haunt is a breezy listen, very much in tune with the spirit of 70s pop that Davis loves for the way it strikes a balance between complexity and brevity.

Interview by Interlocutor Magazine

Your sound has been described as “jazz, funk, sunshine pop, and rock...that often feels like a full band effort,” yet for The Haunt, you produced everything yourself in your home studio during the 2020 lockdown. What were some challenges you faced in creating such a full sound all on your own, and what are some advantages to this approach?

The main challenge I’ve noticed over the years is trying to make it sound even a little bit natural after having to hear the songs thousands of times and think of new parts for each instrument on the fly. I kinda set some rules for myself with these songs so I wouldn’t edit out all the mistakes, or so I’d keep a lot of improvisation in the final versions. I’d say the advantages are just the amount of time I could spend really getting it right. I could never afford to pay anyone for the number of all-nighters this album took to create.

You wrote the album's centerpiece, “My City Life,” in a single sitting. Have you ever had the experience of writing something as multifaceted as this song so quickly? Was there a singular big spark/inspiration that struck you and helped the song come together so fast?

Well to be fair when I first wrote it, it was just the piano and vocals! But I did have all the chords down at least. I’d say I can only really accomplish that when I’m feeling something intensely. For all these songs the chords were written when I was going through some tough times, which were magnified by the pandemic and isolation. That speed though – being only one sitting, for “My City Life”, was new to me. I just told myself I wasn’t allowed to leave that room until I got the whole song out, even though the room was freezing.

You teamed up with director Phil Osborne to create a completely hand-built animated music video for “My City Life”. You created all the practical effects for the video, and it has a lo-fi look to it that matches the song well. What is the appeal of non-CGI effects for you, and how did you come to work with Osborne on this?

Phil’s great, and I really respect the dedication it takes to take that approach. I’d seen a bit of his work before, and I knew he’d produced elaborate sets – specifically in Cindy Lee’s video for “Realistik Land”. I think with non-CGI effects you can arrive quicker at an emotional resonance…maybe it’s that subconsciously we relate to recognizably physical things in an easier way. That said, I have some friends doing excellent 3D animations too.

You played drums in the church band and saxophone in your school band, but you also didn't have any formal training as a musician. How do you think this background informs your approach to songwriting? Do you think a lack of “formal” training freed you to experiment with so many different styles and create uniquely blended music?

I think about this a lot, especially having so many friends who are highly trained musicians. I can’t judge either way, and I definitely have some jealousy with how easily my friends can learn new songs, change keys, or sight-read charts. For me though, whether it’s wishful thinking or not, I am happy enough not knowing any of the chords I play. I’ve worked a long time to try and translate emotions into chords and structures. Personally, I don’t think you need training to write songs. And when my more-studied friends mention how strange my chords are or act surprised at the weird inversions it just reinforces that idea I guess.

You're a mainstay of the vibrant Montréal music scene, and you've played many different styles of music over your career. How do you think The Haunt reflects all of your past stylistic experiences, and where do you see your music evolving from this point?

Yeah I have played in a ton of random bands in the past 15 years. I also rapped as my main outlet for over ten years in Edmonton. I think The Haunt captures a number of styles that I’m interested in but definitely not all of them! I just want to keep experimenting and seeing how many things I can pack into a record while still being believable.

I’ll probably include more modern elements next time around, showing off the side that still likes beats. I think I just had to get this one out of my system. I really wanted to make something that stood on its own musically and didn’t go too wild with the production or editing.

The Haunt is available now.

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