'When your sound is sporadic, a level of experimentation is available to you that many other musicians are unable to touch. Such is the charm of Montreal-based the Scrolls Swan Soliloquy of a Deehrelict. From track to track, you never know what youre going to get. Perhaps some harsh rock, maybe some electro industrial or even some pop dance beats. The Scroll dont just touch on a variety of musical forms, they kick the shit out of them with songs ranging from wistful, to edgy, to utterly psychotic. In concept, the album capitalises on contrast, such as overshadowing harsh concepts of sadism and brutality with beautiful vocals and melodies. Such a diabolic sense of humour carries throughout with the likes of the ironically upbeat "Gramps Kept Me in the Cellar, the grating noise-based "My Stress in Potty Training and the reflectively sung "How Perfectly Goddamned Delightful It All Is Too Be Sure. (...) While this two-disc album might be one step away from perfection, one step away is still damned close.' - Mike Adair, Exclaim!
Swan Soliloquy of a Deehrelict is maybe The Scroll's most extreme album in terms of the range in styles it covers. Hearing it now, I'm taken back to the time when I'd just moved to Montreal and got inspired by the music of the city.
The lyrics and the mood describe a narcissistic, sexual predator (with a sense of humour) on the verge of violence or (maybe) redemption.
It was a few years since I'd gotten sick of industrial music and was now leaning towards 80's music, shoegaze, trip hop and house music. To me, Swan Soliloquy was my prediction of where the direction of electronic music was going to go. But near the completion of the album, electroclash began and totally changed the direction of electronic music forever. So by the time the album was released, it already sounded a tad dated- which always bothered me. With that said, I do love the eclecticism of the album and it's maybe the most sincere music I have ever done (give or take a few songs). Swan Soliloquy is my most adventurous album and set the groundwork that would become The Scroll's sound.
released July 7, 2005
All tracks composed and produced by J Deeh
J Deeh: All instruments and vocals
Acidasia: Female vocals on track 1,9, 10, 11, 13, 14 &15
Femme Diabolik: Female vocals on track 2, 3, 4 &15
Kendl: Female vocals on track 7
Trendi D'Amour: Female on vocals 11 & 14
Soleil: Female vocals on track 18
Thank You: C-Tec, Jean-Michel Jarre, Jerome Miniere, Taboo Films, Leaving Las Vegas, Malhavoc, Pigface, Cubanate, Peter Gabriel, Cannes Film Festival, Lassigue Benthaus, Underworld, and David Bowie.
NOTE: This version of the album differs from the original CD release. I revisited the album in 2020 and did a few modifications. These are the changes:
1. Track #1 is shorter and extra vocals are added.
2. Track #2 is shorter.
3. Track #4 is shorter.
4. Track #5 is EQed with more bass.
5. Track #7 has extra vocals added.
6. Track #12 has extra vocals added.
7. Track #13 has extra vocals added.
8. Track #15 has a synth part fixed.
9. The track 'What Pinocchio Wants' is taken off the album and is now inserted in Rejected Relicts 1.
The Scroll is a Canadian neo-wave band, consisting of multi-instrumentalist J Deeh and his various collaborators.
While being one of the most eclectic band's around, The Scroll has been described as indie electronica, art rock, neo-folk, dance-rock, industrial, dream pop and shoegaze....more