Annie-Claude Deschênes discusses minimalism, structure and her latest release Main de Fer

Transmission 203: Interview with Annie-Claude Deschênes

Annie-Claude Deschênes is a Montreal-based multidisciplinary artist and founding member of Duchess Says, a group active since 2003 and known for its synth-heavy sound and confrontational live performances. She has also been involved with PyPy and collaborated with members of CPC Gangbangs. Over the past two decades, she has performed alongside artists such as Yeah Yeah Yeahs, Buzzcocks, and Teenage Jesus & the Jerks, and appeared at festivals including Eurockéennes and Osheaga.

Her debut solo album Les Manières de table, released in 2024 on Italians Do It Better and Bonsound, was originally conceived as a performance piece and was longlisted for the Polaris Music Prize. In 2025, she followed with the single Main de Fer, also released through the same labels, expanding her work into minimal techno and experimental electronics with a focus on repetition, control, and disorientation.

What were the earliest signals that led you toward music?  

I started piano lessons around the age of 8, but I never quite got into the rules. I had more fun improvising over Mozart or Chopin, skipping parts or changing rhythms just to enjoy myself. My teachers weren’t exactly thrilled! But it was the first hint of my urge to create. Even back then, I was already trying to make the music my own.

Which artists or records were particularly important to you during your formative years?

D.R.I,, The Sex Pistols, David Lynch, The Velvet Underground, William Burroughs, Joy Division, The Cure, Allan Ginsberg, Devo, Romain Gary, The Pixies, Sonic Youth, Suicide, Bauhaus, Kraftwerk etc..

What led you to start creating music rather than remaining a listener?

In high school, I formed a band with my melomaniac friends. Music became my way to express myself and connect with others, and I felt like I had something to offer. Forming a band seemed exciting, and I also wanted to create a kind of chosen family. It was all driven by my need to create, to share something authentic with those around me.

Do you remember the first track or performance where you felt fully involved as an artist?

I’d say Tenen Non Neu by Duchess Says. The song came from a weird, feverish experience I had when I had the flu. I remember seeing a budgie jumping around on perches, surrounded by mathematical symbols. Each time it jumped, it made a sound. Writing Tenen Non Neu was my way of capturing that strange, half-conscious dream in music, bringing my memories and feelings to life. Every time I performed it, it felt like diving back into that moment.

How did Duchess Says begin, and what were your first intentions with that project? 

Duchess Says all started when I discovered some documents about the Church of Budgerigars in my grandma’s closet. The visuals and the whole concept opened up a whole new world for me. I was already jamming with Ismael, so I shared it with him, and we decided to start Duchess Says around that idea. Duchess being the budgie, and “Says” representing the philosophy of the Church of Budgerigars. A few years later, Simon and Phil joined, completing the lineup.

What challenges did you face when you started performing in Montreal’s independent music scene? How would you describe the environment of the scene when you began?

When we moved to Montreal, the music scene was just starting to explode, with bands like Les Georges Leningrad, The Unicorns, Godspeed You! Black Emperor, and Wolf Parade, just to name a few. It was such an exciting time, and you could really feel the energy in the air. We wanted to be part of it, so we dove in headfirst, playing nonstop to carve out our place in the scene.

How did PyPy come together, and how was it different from your previous work?

It all started when we were sharing a jam space with CPC Gangbangs and began jamming with Roy. At the time, Phil, Simon, and Roy were working on the Fubar movie soundtrack. Some of the tracks that didn’t make the cut ended up becoming the foundation for what would become our first record.

What was your approach going into Les Manières de Table, and how did it differ from your work in a band? What were the main challenges you encountered while recording the album?

The album began as an art performance commissioned by Heavy Trip at the Phi Centre in Montreal. I created a dystopian restaurant where the audience became potential customers, guided by the music through a story that encouraged interaction. Writing it all alone and spending so much time in my own head definitely led me to some dark places.

Was there a specific reason you decided to start working as a solo artist?

I started working solo during the pandemic, mostly out of necessity. We were all isolated, and collaborating with others just wasn’t an option. At some point, I realized I didn’t want to wait around for things to line up or rely on other people’s schedules to create. Working alone gave me the freedom to explore ideas at my own pace, make quick decisions, and dive deeper into my own creative process without compromise.

How did the collaboration with Italians Do It Better and Bonsound begin?

We had played a few times with Glass Candy, and Megan had also managed Duchess Says for a while. As I started sharing my new solo ideas, they reached out and invited me to collaborate on the After Dark 4 compilation. As for Bonsound, I had previously worked with Duchess Says on the album Sciences Nouvelles, and I felt it would be a great fit.

Did you approach the structure of “Main de Fer” differently than previous work?

Yes, I wanted to move away from standard structures like verses and choruses. I was looking to break free from the usual format and explore something more experimental.

Were there any books, films, observation, or personal experience that influenced the concept or tone of the track?

Steve Reich’s techniques was a big influence, especially in how he composed using repetitive patterns and phase shifting. I was inspired by his use of minimalism to create depth and movement, which led me to experiment with similar techniques, like layering tracks and using flange effects. Concerning the tone, I had more Herbie Hancock in the back of my mind. His approach, especially with synths and his funky, experimental textures, influenced how I shaped the sound.

Are there specific tools—hardware, software, or instruments—you always return to?

I’ve been working with Logic for a long time now. As for specific tools, I always go back to my Mopho, Nord Lead 3, TR-8S drum machine, and various keyboard plugins.

Looking ahead, do you plan to continue as a solo artist or return to working within a band format?

In the future, I’d ideally like to balance both. I enjoy the freedom that comes with a solo project, but I also value the collaboration and energy that a band format brings!

Photos courtesy of Annie-Claude Deschênes

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others