The band Myths weighs 100 pounds tops, but its sound is enormous, a demon that eats listeners alive. It’s an all-out aural assault, hard to pin down or identify by genre.
“I came up with a fast description for the first time a few months ago that I’m comfortable with,” said Lief Hall, half of the Canadian duo. “I call it dark-electro-experimental dance.”
Myths just hit New York City on tour with Blue Hawaii, Elite Gymnastics, and headliner Grimes, who recently exploded as an indie-electronica sensation. Its new EP, “Deadlights,” was officially released about a week ago, and the lead track is primed for an upcoming music video.
Lief and Quinne Rodgers make up the Canadian duo, who, as previously mentioned, are pretty small in stature and very nice.
Onstage at the Bowery Ballroom, though, they’re transformed—or if not transformed, freed. When asked about their live show, however, Quinne answered simply: “We’re not theatrical.”
To be clear, this is a show that involves spandex, sequined capes, flower-bedecked synthesizers, epileptic lights, dance moves, and a background projection.
Almost before the words are out of Quinne’s mouth, however, Lief dissented. “Really? That’s sometimes how I describe us.”
Ultimately, the truth falls in the middle: dramatic, but not theatrical.
“We’re not not ourselves,” Quinne said, “We’re not playing characters ... But it is probably just intense because the music’s intense and we really get into it.”
“When you create a space that’s an environment and a sound and a presence for yourself, it allows you to tap into yourself,” Lief said. “We do that in the world we create on the stage and it ends up coming out.”
Synths and sinister beats underline the demi-Riot Grrl shrieks that characterize Myths’ vocals. Fans of Peaches, the duo occasionally breaks into rapping. Generally, they can’t easily name influences. “We’re very internalized,” Lief said, “It’s a lot about our personal dialogue,” The artists they mention listening to—Tori Amos, Björk, PJ Harvey—serve easily enough as reference points, if not sonically, at least in their attitude.
Ultimately, Myths is made up of women who aren’t afraid to rock in any genre they deem fit.
One of the highlights of the tour, they mentioned, was ideological chemistry between the bands.
“Everyone’s got Totoros [plush dolls] in the van and we’re drinking kombucha and having, like, introspective discussions about feminism,” Quinne said, “It’s a super feminist tour.”
“Our sound person and tour manager are both women and they have a whole thing where they connect with other women in the music industry ... and Claire [Boucher, a.k.a. Grimes] in who she is and what she does is a really powerful force in that direction,” Lief said. “It’s really inspiring. It’s really good.”
As Quinne said, they are members in a “mutual-admiration society.”
Grimes and Myths first played a show together two years ago, and formed a relationship and ever since, the two bands have played shows whenever their paths cross.
On the “Deadlights” EP, Grimes, along with Majical Cloudz, remixes “The Horizon,” a track from its first album. Remixed, “The Horizon” is a notable departure from their first album’s style, which pulsed with frenetic energy from beginning to end.
Instead, the remix is a slightly more atmospheric calmed-down version. “We’re constantly wanting to see what we can push in our music and see how we can expand in different directions,” Lief said. “I think one definite way of expanding was to try slowing it down a bit and see what happened with that.”
The band has five songs written for their new album, which will be their next project after the tour. Their plans directly following the tour, however, are a little less labor-intensive.
“I’m sleeping,” said Quinne.
“Hot yoga,” Lief said. “And then make, like, a big salad.”
All in all, though, things couldn’t have gone better, according to Lief. “We have food and it’s organized, and we know where we’re going, and all the shows are sold out so it’s actually a total dream come true.”