The allure of minimalism lies in its complexity, making it challenging to replicate. It serves as a counter-movement to abstract expressionism, characterized by lens flare synths and melancholic beats that have shaped the soundscape for what seems like decades, influencing L.A. glitch-hop, U.K. post-dubstep, and Montreal’s house music intertwined with R&B. This genre has been brought to life by labels like Warp, LuckyMe, and WeDidIt, and has achieved its pinnacle through projects such as ‘Cosmogramma’. For longtime collaborators Jason Chung and Philippe Aubin-Dionne — known as Nosaj Thing and Jacques Greene — minimalism serves as a channel for expressing textures that transform our emotions. Their recent endeavor, Verses GT, showcases the same ethos as ‘Continua’ and ‘Dawn Chorus’, but condenses their mastery of spatial manipulation.
“GT represents the G from Jacques Greene and the T from Nosaj Thing, which is a light-hearted nod, but it also refers to the top-tier performance trim of many cars,” Greene reveals from his home in Montreal. “Verses suggests a theme of dialogue and a multifaceted approach, emphasizing the complexity of a verse within song structure as opposed to a straightforward hook that demands attention."
For enthusiasts of beats, 'Verses GT' captivates with its embrace of more intense emotions. The album features echoes of Sade, syncopated rhythms reminiscent of ‘Street Halo’, droning drum compositions from ‘Concealer’, and pop clarity that seamlessly transitions into warehouse trip-hop. Tracks like ‘Left’ use driving rhythms to transform tempos into a sensuous narrative; ‘Intention’ resonates like a reimagined version of Mélodie Lauret’s ‘quand j’entends les gens’; while the collaboration on ‘Angels’ is stunning — a track that utilizes secondary rhythms to form an exhilarating groove. The album's structure positions songs as compositions, encouraging repeated listening to uncover its rhythmic ebb and flow.
With their collaboration launching this week and a tour spanning from Montreal to Tokyo, CLASH interviewed Nosaj Thing and Jacques Greene regarding their new album, their collaborative dynamic, and how Verses GT transcends a mere producer partnership.
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As artists who have consistently embraced the concept of sonic space and the elegance of minimalism, do you still view the process of creating ambient music as therapeutic?
Jason: Absolutely. It certainly serves that purpose for me. Particularly when I create ambient music, it flows out naturally. I don't set out with the intention of making an ambient track. On days when I feel stuck or curious, I begin experimenting with sound design on my synthesizers. Therefore, my ambient-leaning compositions arise from this exploration, making the creative process therapeutic as it requires me to be present and tuned into my thoughts.
Philippe: For me, it remains therapeutic, especially regarding this album, as many of our tracks could succeed even if all the drums were omitted. There’s an essence of everything being capable of looping endlessly without growing tiresome for us [laughs]. So, many parts of the album draw on the classic Brian Eno concept of ambient music, providing a sense of utility — you can engage with it however you choose.
Interestingly, even some of the more rhythm-heavy tracks — like the recent release ‘Found’ — may have intense moments but still carry ambient elements (laughs). There’s a looping, droning quality that I find very beneficial and soothing.
Have either of you ever felt hesitant to share your artistic process or creations with someone else?
Philippe: Every day [laughs]. One of the positives of working with Jason is that I don't feel that way on a personal level; I'm genuinely excited to collaborate. We continually share sounds we've crafted or discovered with each other, and that level of openness isn't present in all my relationships. As for showcasing my work, I'm typically eager to share my progress. However, in social settings, like at a restaurant, when someone plays my song, it can make me feel deeply uncomfortable [laughs].
I find myself fluctuating in how open and communicative I wish to be, and at times, I can feel very protective about certain processes, demos, and ideas.
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When did the notion of collaborating on an album first arise between the two of you?
Jason: I recall realizing it while I was in L.A., Phil.
Philippe: Maybe about two years ago?
Jason: Yes, I remember being in my studio in L.A. when we looked over our folder and thought, "Wait, we’ve created a lot of tracks together." There were many we were pleased with.
Philippe: We've been friends for about 15 years, which feels surreal since we met through a show that a friend booked for Nosaj in Montreal. Our musical collaboration began when I visited L.A. in 2018 or 2019, and once travel became possible again, I had created an
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The allure of minimalism lies in its challenge to replicate. It serves as a response to abstract expressionism, characterized by lens flare synths and a somber tone.