Start Listening To: Noonzy

Ahead of the release of Plan Is Bad, Noonzy discusses learning to let go, working with Bullion, happy accidents in the studio and why the best songs often emerge when the original plan falls apart.

Belgian singer-songwriter Noonzy has never been afraid to follow a song wherever it wants to go, but Plan Is Bad marks his biggest leap yet. Swapping the hazy folk textures of his earlier releases for a brighter, more adventurous electronic sound, his debut album is built on the idea that sometimes the strongest creative decisions come from abandoning the blueprint altogether. We caught up with the Antwerp artist to talk about trusting the process, finding confidence in his voice, the influence of producer Bullion and why, despite all the experimentation, the songs still begin in exactly the same place.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

Hi I’m Noonzy, an Antwerp based artist and the music I make is not jazz.

Your earlier releases had a much more DIY, lo-fi feel, whereas Plan Is Bad embraces a far bigger electronic palette. What inspired you to make such a dramatic shift for your debut album?

Is it that dramatic? Haha At its core, this album is still coming from the same place: singer songwriter / me and my guitar or keyboard :) Some songs on the record still resemble that process more than others. But yeah it’s really the sonic palette, the wrapping let’s say, that has evolved. Nathan ‘Bullion’ Jenkins, the producer of the record, definitely played his role it this. I think my EP “Puppies” already had a lot more electronic elements but yeah, overall my previous work used to be folky pastel, and now it’s a bit more shiny and colorful. I guess you could say the sound has moved a more into pop but I think it still has a nice edge to it. I can’t think of anything in particular that inspired me to explore this sound but I would say I was very keen on exploring a fresh esthetic.

You've spoken about embracing experimentation and even losing control throughout the making of this record. Was letting go of your original ideas something that came naturally, or did you have to learn to trust the process?

It didn’t come naturally at all. After spending hours writing and sculpting demos, it’s not easy to cut them up again :) you get attached to your demos, and that can be dangerous… You think you know what the songs should sound like / should be and you desperately try to steer it towards that fantasy; but in reality you’re just obstructing the magic of letting the song evolve naturally.

Working with Bullion seems to have opened up a completely different side of your songwriting. What did he encourage you to do that you perhaps wouldn't have attempted on your own?

Yeah, he is amazing! Well, I think the most significant influence he’s had on my performance is he really encouraged me to sing less apologetic. For some reason I think I’ve always tended to be a wee bit careful with my voice.

He noticed that and he literally said “What are you afraid of?” Haha.

You mentioned that some of the album's best moments came from lucky accidents, including a drum machine refusing to cooperate. Do you find those unexpected moments often end up being the most exciting part of making music?

Without a doubt! And I think it’s a real skill to let those moments happen; a skill I’m still working on…

'If I Were You' apparently went through countless different versions before arriving at its final form. At what point do you know a song has finally become what it's supposed to be?

You don’t. Or at least; I don’t… what is a song supposed to be?

The clarinet on 'If I Were You' is such a distinctive part of the track. Have you found yourself thinking more about texture and atmosphere while making this album than on your earlier releases?

Not particularly. I do think the textures on this album are a lot more noticeable tho and I believe that’s a result of using ‘less’ layers and more aggressive processing on individual tracks; another thing I’ve learned from Nathan…

The title Plan Is Bad almost feels like a mission statement for the record, especially given how much it embraces uncertainty. What does that phrase mean to you?

It refers to the control freak I can sometimes be, and to the ongoing attempt to accept uncertainty and trust the process. It's essentially me saying:

"I accept that the plan is bad. I'm a terrible planner. Let's just move forward and see where we end up."

In that sense, making this album became a personal exercise in letting go.

Looking back at Post-it-tapes and Puppies, what do you think the version of yourself making those records would make of Plan Is Bad?

“Where’s the guitars?”

You'll be taking these songs out on the road later this year. Which tracks from Plan Is Bad are you most excited to finally play live, and why?

Boy Could I, because I love singing that song. I feel a particularly strong connection with that song. I hope it will stay that way :)

And Easy, as I believe it has an undeniable energy that will spark something in an audience.

Let’s hope…

What do you love right now?

That the world cup is on.

What do you hate right now?

That Belgium is out.

Name an album you’re still listening to from when you were younger and why it’s still important to you?

‘In Rainbows’ by Radiohead; because it’s a masterpiece.

Finally, after someone has listened to Plan Is Bad from beginning to end, what do you hope they're left thinking or feeling?

“I should show this to my mom”.