In Session: Wes Seneca

ALBANY – Diving further into retro-electronica, Wes Seneca has just released the latest single in his repertoire, “Sam.” Built off a loop of a soundbite with fairly strange origins, “Sam” is quite the piece of intriguing, stream of consciousness fanfare. Easily something that could be found in cinematic works the likes of David Lynch, Seneca has crafted something so peculiar it begs to be heard again for further analysis.

I had a chance to sit down with Seneca this past week. What follows is our conversation.

Lucas Garrett: Thanks for sitting down, Wes, to discuss your newest track, “Sam.” I hope you had a good holiday. How’ve you been?

Wes Seneca: I’m good, but no more famous than when we spoke in March. (laughs)

LG: So, to say the very least, this track is quite obscure. At times, it sounds like something out of a David Lynch work. How did you come to craft the song’s instrumentation?  

WS: The basic loop was generated from a Korg Kaossilator KO-1 which was a little touch pad synth introduced in 2007. The drum track was laid in next, I believe from my Alesis SR18 drum machine (2008). The “horn section” was several tracks from a Yamaha MM6 (2007) which is a keyboard synth. I detuned them each a bit, it makes it sound more human. The “horn solo” was the Kaossilator again, a very expressive but unpredictable device. The chaotic synth noise towards the end was also the KO-1.

LG: There’s a bit of a backstory to this number, but I’d like to hear it straight from you. Tell us about the track.

WS: I had a CD that was burned from a cassette of an Albany band called E Plemnista (or E Plem Nista), this is going back to the 80s. The band was very energetic in their performances, so people and objects could get broken. Jim Gallagher, the Plems lead singer and trumpet player warned a fan to stay back as their drummer hollered and started to count in the song. I sampled that brief outburst and wrote a few lines about the incident. 

LG: What made you decide after all those years to write a song about that particular story?

WS: I was looking for something else in the basement and came across the old CD. I played it and that “Sam, you’re gonna get hurt!” warning stuck in head. I had never written a track based a two second sample before.

LG: This album is set to be a part of an upcoming EP release from you. Can you elaborate on the EP? When do you think it’ll be out?

WS: I want something out by late Spring- at least an EP, and if I get productive, I suppose it could go longer as was the case with While Rome Burns. Given that this one is not being created in a pandemic, the tone will be a bit lighter, and there will be more vocal components, as is the case with “Sam.”

LG: As you continue to dive into the world of retro-electronica, are you learning any tips and tricks this time around that is making the album-making process any different?

WS: I’m intentionally staying inside the parameters I set during the pandemic. I’m using “trailing edge” technology that is hardware-based. There are still no real instruments. I did trade some of the old gear from While Rome Burns for different old gear, as an Alesis drum machine sounds different than a Roland. I still tend to work fast without a big plan. In building a track, the third thing I lay down will just be a reaction to the second thing.

LG: Is there anything else you’d like to discuss while I have you?

WS: David Callow is a former college roommate who is an integral part of this process: he is the producer. I send Dave tracks before they are finished, and he sends me notes and suggestions. When I have a group of tracks ready to become an EP or LP, he will send me his thoughts on which tracks should be included or excluded and David will suggest a running order. His voice appeared on While Rome Burns and it will certainly appear on this next project. I have never enjoyed working solo, I have always liked collaborations. The man has “good ears.”

LG: Thanks for your time, Wes! Keep cranking out those weird tunes!