EXPLORE THE 'INTERKNIT': A Multi-Sensory Listening Experience In 'Future Folk'
a deep dive on music, emotion and creative connection with the Eau Claire and Minneapolis duo, The Hyper Folk
Evelyn Nelson, photos by Luong Huynh |
From "F ART" (yes, you read that as intended) to future folk, two multi-instrumentalists have built an audacious and chimeric world, where all senses are activated and listeners are invited to expand their emotional capacity for good.
Interknit, the debut release from The Hyper Folk, has brought together Baylee Cannon of Eau Claire and Jared Willemsen of Minneapolis, Minn.
Over the past two years, both Jared and Baylee would best describe their musical partnership as a stellar collision, complete with challenges and blissful success. Each highlights complementary abilities, with Jared acting as the “computer mastermind” who mixes recordings and Baylee as the “instrumentalist” on acoustic and electric guitar, banjo, synthesizers and more.
The duo shares a pen throughout the lyrical architecture of The Hyper Folk's ambitious new 17-track record, a sonic experience the Eau Claire community first heard during an immersive listening event on May 31 at The Venue (209 Graham Ave.).
Through interactive worksheets, lyric books, hand-crafted merchandise, 3D printed CD frames and visuals by Kyle Scherber, The Hyper Folk delivers on experiences for eyes, ears and hands – not just an auditory one.
We sat down with the duo behind the magic, following the listening experience and album release on June 1, to learn just how Interknit serves as a “time stamp” of this period in Jared’s and Baylee’s lives. It marks not only their first project as musical partners, but their burgeoning friendship across state lines.
V1: Let’s talk about first meetings, how the project began and how Interknit has unfolded over the past couple of years.
BC: "Our tandem creative skillsets really complement each other in a lot of ways. Jared is the first person I ever met that I've been able to have so much click with immediately (musically). We met on the internet; that's why this (record) is called Interknit. Meeting anyone off the internet is scary, whether it's a friend or Tinder. I remember the first time we got together, feeling that the vulnerability was there from day one.
We had a lot of willingness to reveal our most sacred parts of our lives together – even though we had just met.
There was that feeling of security within each other pretty quickly; it's super rare (to) find that. That chemistry definitely aided in our flow of making the music."
JW: "(Baylee) was posting (online) about tape machine stuff and I was trying to get into maybe using tape machines, so I had asked him questions about it ... I ordered one and then it showed up broken. So, he was like 'oh, I'd be down to help fix it up.' So I drove out to Eau Claire, we met up and I exchanged that with him and then we tried to make some music.
We, over the last two years, have had to figure out how to communicate and advocate for ourselves. Both of us really have a desire to help people share stories and facilitate that experience and collaborate – so this has been a(n) awesome learning experience for both of us."
"I really want to be able to provide an experience that extends the world that we crafted – a sonic project – into the physical space. I view art as three-dimensional, whether it's just music or other things."
baylee cannon
the hyper folk
V1: Could you expand on the concept of “world-building” in the album, particularly in the track list and lyrics across the record?
BC: "For me, (Interknit) isn't a concept album, but I consider it more of a theatrical cast where there are main characters. I see some lead characters going on the track list and then supporting actors, where they uphold the vision of the entire theater production in this world that we're building. Songs like 'Chirp Chirp' or 'Mosquito Spittin' are some of the little guys (supporting characters), but they really expand on what the definition of hyper and folk can be together.
If this whole thing is a movie and there are different acts and there are different elements ... (track) 16, 'we are not influenced by bon iver,' is like the credits. Everybody is basking in the movie they just saw and then 'F ART' is almost like the post-credit scene, where you are still sitting there. (Like) well, we will give you something to listen to.
I think that the song really challenges conventional sound selection of music, because fart sounds are generally taboo. It's using something that feels sort of childish, icky or private in a way that maybe it's challenging, in a way that I enjoy."
JW: "I advocated for the track list of (Interknit) to be kind of like how I have made my set lists before: you capture attention, have the splash of like the poppy, gooey, hooky songs and then you release into low energy and a little bit somber, acoustic and heartfelt moments. Then, you bring it back up at the end to give the craziest splash of energy, but also have a little bit of that hook-pop captivating at the end.
For me, I always saw 'call me names' as the last song, because at the end, I hope I learn my lesson next time. ... At the end, (the record is) being so self-aware that you know you are not going to learn from it this time, but man, I hope when I like walk through all this again I actually figure it out.
Then, 'we are not influenced by bon iver,' that one is more of a sound bath detox – because I am from the DJ world. I love doing the set after the guy who just blew everyone's ears out, where I can just play these fun little ambient and low energy melodic things that a lot of people will come down from."
V1: Is there a specific track within Interknit that highlights the different creative visions you both apply when making new music?
BC: "The first time it had clicked where I was like, 'this is the beautiful amplification of our stylistic differences, was the song 'Don't say chapstick.' For a long time I had the desire to be involved in electronic music and will confidently say that's not something I know how to produce very well.
With my guitar playing, being in all over in that specific track – the arrangements and the call-outs within that track – that was the first time I felt like it was super natural. It really felt like that was one of the songs where both of our identities lived in it – in a way that truly felt like the collaboration I've been looking for in my entire life."
JW: "We always wanted to make this genre of music that we never heard described before: future folk or hyper folk. For me personally, I'm just criminally trying to make albums – trying to find people that are actually down to make the marathon with me.
There was a couple of things that we recognized we kept doing. Baylee would be sorting through his synth presets and then I would secretly record while he was doing that. So in "Denim Skirts," that intro part – where it sounds like just madness – that was just him scrolling through presets.
Little stuff that we threaded through the whole (record) felt kind of unique to us, whether people like it or not – but we thought it was cool.
Then, (songs) like 'DOPAFEEN' took an entire day to nail down, it was a nightmare. Now, (the song) feels like the best summary of the album in, like, a pop sense: We wanted so badly to blend that chaos and in your face with chorus – just throw it into this ambient emotion – and then bring it back into some madness."
V1: How did the physical elements of this record release – the T-shirt designs, CD cases and interactive worksheets – come about?
BC: "I could care less about making money, but I do care a lot about providing an experience to somebody – that is invaluable to me. I wanted to start generating a frame of reference for what I'd want out of a event, or out of an album release party. I had the goal, personally, to provide a sensory experience for your eyes, ears and hands.
I really want to be able to provide an experience that extends the world that we crafted – a sonic project – into the physical space. I view art as very like three-dimensional, whether it's just music or the other things.
Having (projects) that are made by people inherently have more feel to them."
JW: "I do 3D animation, so (the CD cases were) kind of my first in-depth project of like modeling something. We have ornate frames on all of our (album) covers. So, we thought it would be cool for people to have something they could hang on their wall – even if they don't put our CD in there, they have a place to show off their favorite CDs."
V1: How does Eau Claire – whether it’s Mount Simon or the city's notable artists – weave into the record’s storytelling?
JW: "It was cool to feel that comfort of (Eau Claire is) like the city, but feels like a small town kind of vibe. And, the Bon Iver thing – he feels like this mythical creature that hover above the city in a way. We have talked about our thoughts on influence or how to interact with people that we're influenced by.
He was one of the future folk originators ... mixing the autotune and the harmonies and the glitchiness. (Interknit) was trying to pay homage to that, but also recognize that we were trying to take (music) in a different direction.
Coming here (to Eau Claire), it's been awesome to get that sense of 'hometown feeling.' I feel like I've been able to get sucked into the family of the Eau Claire community. This album really does feel like it has part of Eau Claire in it."
BC: "I've seen a lot of people outsource visuals, merch and tangibles. Things that are just so far beyond the community that don't feel like they have roots in the spaces that they exist. I really wanted to enrich how I interact with the community ... I have so many things at my disposal in my community that should you have the eye or the palette or the attention to seek those out, they exist no matter where you are.
Having the easter eggs of Mount Simon circle, or even when it comes to our graphics – that is all stuff I own. The things that I see and that I touch are the things that I know. To not engage with the community that's already providing things for me, I feel like really is the neglect of that experience."
V1: Reflecting on the album release and lessons learned, what do you each appreciate about the emotional trajectories on Interknit?
JW: "I think the things me and Baylee recognize in each other – that we have in common – is the stubbornness and the feeling that we have to pursue this. There is this string around our hearts that is pulling us into some unknown forward direction. There is a picture in my mind of us, with our arms around each other – carrying each other to the finish line.
I have tried so many things in my Smilebro pursuits ... these things that I've become jaded to. Baylee is able to lift me up and be like 'I am excited about (making music).'
He is able to push and I'm able to steer. We are both stubborn enough to see (the music) through and he has the optimism that I feel like I might have lost ... I am so grateful for that and (to) us holding up each other up in the way."
BC: "Of the times when we are together, I had had this realization a few months ago: Our best version of a great day is us just making music.
We had a really good moment where we finished the album, we sent it off ... and we both were like 'there's nothing that we would currently change to improve it, because of our current abilities and interests.' We are releasing (Interknit) to be a time stamp of this part of our lives."
This interview has been edited for length and clarity. Listen to Interknit by The Hyper Folk online through streaming platforms, or in analog format CD – available to purchase locally at Abraxas Wax (320 Graham Ave., Eau Claire) and soon at The Local Store (205 N Dewey St., Eau Claire). Follow along with Baylee Cannon and Jared Willemsen's new music online through social media (@thehyperfolk).
