Maya Postepski has been one of Torontoās busiest musicians in the past five years. In addition to being an integral member of electro-dance band Austra, the percussionist/producer has also worked with Robert Alfonsā TRUST and released a lesser-known solo album under the moniker Princess Century. This past year alone, she wrapped up yet another tour with Austra, flew to France to produce a band called OPALE and is currently solidifying a release date for her second Princess Century album, which will be released on Paper Bag Records later this year.Traversing various styles of electronic music, Postepski admittedly is still learning a lot about recording and production, but has undoubtedly created a very distinct sound of her own that can be identified in all the projects she has worked on. That sound can be described as dark and pulsating beats that bury themselves deep into the belly of underground clubs, refusing to acknowledge daylight. Seriously, Postepski has an affinity for minor chords, even refusing to perform lighter āpreludes and shitā when she attended university for music. We caught up over a cup of tea in the convalescent frost of winter in Toronto to talk about Postepskiās various projects, her growing interest in production and why sheās scared shitless of performing by herself at SXSW.
Maya Postepski: A lot of the stuff I contribute to Austra comes from Princess Century songs I donāt use. [Austraās lead singer Katie Stelmanis] knows that, itās not a secret. Sheāll come to one of my shows and be like, āI want that song!ā If I have extra songs, Iāll send it to other people because I like the idea of recycling material. Like any other artist, we have this excess amount of work and you choose the right pieces to put on a record. Thatās how I work with everybody, like, āDo you like this? Okay, you donāt like it? Iāll give it to someone else!ā Thereās definitely continuity between the projects, though. You can hear a sound and it changes, but I hope and stride for a consistency. Iām definitely trying to develop a recognizable style as a producer.Is producing something youāve grown more interested in lately?
Yeah, itās definitely something Iām attracted to doing. It just requires a lot of patience and Iām obviously developing myself as an artist. Every time I make a record, I learn something different. I think it really helps to work with different artists because what I do with Katie is one thing and then what I did with Robert was another.Are you and Roberts still working on TRUST together?
We donāt work together anymore, at all, which is unfortunate. I tell everybody I want to work with him again, but it just came to a point where Austra was picking up for me and I couldnāt say no to that. I guess he wanted me, all or nothing, which I understand but I chose to continue with Austra and it was a good choice because I think he wanted to do his own thing. Maybe someday weāll get back together, I like to be optimistic. Weāll see.Is there a difference between working on your own as Princess Century and with others in a band?
I prefer working with other people. I like the challenge that people bring to the table, it forces you to expand yourself. When Iām alone as Princess Century, I can do whatever I want and thereās nobody there to edit me or argue with me. I think itās hard for a lot of artists to edit themselves and thatās why they get producers to help them map out where the hell theyāre going, but when Iām making a record, I map out my own plan.Does that make the process quicker?
A lot of artists redo things five or more times and I personally donāt like that approach because, to me, the idea has to be in the moment. Iām of the school of thought that you lay it out, clean it up and itās over. This is hearsay, but for example, Bjork apparently only does three of four takes and I think thatās great because it captures the mood. Like, you canāt kiss someone five times and redo it. If it feels good right now, do it; itās momentary.So how would you describe the final product, Princess Centuryās upcoming album?
Princess Century is the project where I take the most risks with because I donāt care; Iām not trying to necessarily have a huge audience. Itās where I can indulge all of my fucked up ideas and sometimes they work. I didnāt want to say no to any of my ideas. The record has a lot of improvisation on it and some mistakes, but I think thatās charming. With Austra, the work is so much more refined, but with this, itās a lot more loosey-goosey. Itās also a little more serious, though, I draw from my formal percussion training on this record so there are two pieces where Iām like, āWhoa, it sounds like the shit I did in school!āHave you performed onstage much solo-wise?
No, Iām actually so scared because Iām doing SXSW by myself. Iām not a great solo performer, I just twist knobs, but Iām trying to work out a show thatās honest. I donāt dance, I donāt sing, I donāt do theatrical shit and I never will. Iām not going to wear a sexy outfit and dance around, but I think peopleās expectations of live shows have changed. Itās totally normal to go see a person onstage with a synthesizer, twiddling knobs. Itās maybe not the most engaging thing in the world, but if you close your eyes and you listen to the music, you can get into it.@Melodylamb isn't opposed to performing random songs for strangers
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Noisey: Youāve been in a number of bands in the past few years, so is there fluidity between your projects or are they all very separate things?
Maya Postepski: A lot of the stuff I contribute to Austra comes from Princess Century songs I donāt use. [Austraās lead singer Katie Stelmanis] knows that, itās not a secret. Sheāll come to one of my shows and be like, āI want that song!ā If I have extra songs, Iāll send it to other people because I like the idea of recycling material. Like any other artist, we have this excess amount of work and you choose the right pieces to put on a record. Thatās how I work with everybody, like, āDo you like this? Okay, you donāt like it? Iāll give it to someone else!ā Thereās definitely continuity between the projects, though. You can hear a sound and it changes, but I hope and stride for a consistency. Iām definitely trying to develop a recognizable style as a producer.
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Yeah, itās definitely something Iām attracted to doing. It just requires a lot of patience and Iām obviously developing myself as an artist. Every time I make a record, I learn something different. I think it really helps to work with different artists because what I do with Katie is one thing and then what I did with Robert was another.Are you and Roberts still working on TRUST together?
We donāt work together anymore, at all, which is unfortunate. I tell everybody I want to work with him again, but it just came to a point where Austra was picking up for me and I couldnāt say no to that. I guess he wanted me, all or nothing, which I understand but I chose to continue with Austra and it was a good choice because I think he wanted to do his own thing. Maybe someday weāll get back together, I like to be optimistic. Weāll see.Is there a difference between working on your own as Princess Century and with others in a band?
I prefer working with other people. I like the challenge that people bring to the table, it forces you to expand yourself. When Iām alone as Princess Century, I can do whatever I want and thereās nobody there to edit me or argue with me. I think itās hard for a lot of artists to edit themselves and thatās why they get producers to help them map out where the hell theyāre going, but when Iām making a record, I map out my own plan.
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A lot of artists redo things five or more times and I personally donāt like that approach because, to me, the idea has to be in the moment. Iām of the school of thought that you lay it out, clean it up and itās over. This is hearsay, but for example, Bjork apparently only does three of four takes and I think thatās great because it captures the mood. Like, you canāt kiss someone five times and redo it. If it feels good right now, do it; itās momentary.
Princess Century is the project where I take the most risks with because I donāt care; Iām not trying to necessarily have a huge audience. Itās where I can indulge all of my fucked up ideas and sometimes they work. I didnāt want to say no to any of my ideas. The record has a lot of improvisation on it and some mistakes, but I think thatās charming. With Austra, the work is so much more refined, but with this, itās a lot more loosey-goosey. Itās also a little more serious, though, I draw from my formal percussion training on this record so there are two pieces where Iām like, āWhoa, it sounds like the shit I did in school!āHave you performed onstage much solo-wise?
No, Iām actually so scared because Iām doing SXSW by myself. Iām not a great solo performer, I just twist knobs, but Iām trying to work out a show thatās honest. I donāt dance, I donāt sing, I donāt do theatrical shit and I never will. Iām not going to wear a sexy outfit and dance around, but I think peopleās expectations of live shows have changed. Itās totally normal to go see a person onstage with a synthesizer, twiddling knobs. Itās maybe not the most engaging thing in the world, but if you close your eyes and you listen to the music, you can get into it.@Melodylamb isn't opposed to performing random songs for strangers