By Sean Maldjian, Contributor

Meet Black Light Smoke

A deliciously dark take on your usual synth-pop outfits black light smoke is here to spread electronic feelings. At the helm of the project is the terrific Jordan Lieb. Melodic and driving the tracks of Black Light Smoke will make me walk with some serious determination. The project has evolved over time from its roots in ambient and shoegaze to take on more influences from electronic and dance music. In our latest interview, we discuss clowns, gear, and collaboration. Check it out.

“Bicycle Riding” a fill in the blank with Black Light Smoke

Most doctors agree that bicycle DREAMING is a GLITTERY form of exercise that benefits CATS of all ages. Riding a bicycle enables you to develop your BRAIN muscles as well as LOUDLY increase the rate of your EAR DRUM beat. Bicycle riding is also a GLOWING means of BLACK HOLE. More FERRARIS around the world PUKE bicycles than drive SATANIC BIBLES. No matter what kind of AVOCADO you ride, always be sure to wear a DUST PARTICLE on your head and have reflectors on your BELLY BUTTON, especially if you SLEEP at night.

Would you rather…

your favorite restaurant is modified to have massage chairs that are on at all times, or there is a clown in there doing clown things at all times? Please explain why.

Clowns are terrifying. Anything but clowns. Anything.

Some Questions with Black Light Smoke

What was the creative process like on your recent collaboration with Man 2.0

Mark and I have never met in person. But we have so much in common, musically and in life, it’s quite easy to collaborate with him. We both love a lot of the same weirdo early dance and industrial type music. We’re both dads, we both love history. We also share a wry sense of humor, which just makes everything fun.

It all kicked off when he sent me an early demo of Bodywork, a track that ended up on our record. As soon as I heard it I wrote to him “let’s do an industrial-inspired record!” So he really set us in that direction.

We work well together remotely, sending demos and sessions back and forth. The rule is “go ahead and fuck up my track, please.” It’s good to have your control issues challenged and to practice honesty with your work partner about what’s working and what’s not. For example, I sent him my version of Holy Hammer and he sent back an acid remix. I ripped off his main 303 line and re-recorded it on my TB-03 with some pattern variations and a nastier lo-fi sound. I also used the delays and effects he added to my vocals. I basically tossed everything else and sent him my version. He worked with it and added some eerie pad sound that he recorded from the television, and sent it back to me for a final mix. So we ended up somewhere neither of us would have gone on our own. That’s now the “Tweaker Mix” of Holy Hammer.

What gear was essential in finding your sound as Black Light Smoke?

Originally Black Light Smoke was not dance music; something more like if Boards of Canada and My Bloody Valentine had a baby. Odd sounding guitar amps and pedals, and lots of 4 track tape stuff. You can hear that vibe carry over in my early dance music, like on Lovework. The hissy, lo-fi sound of the drums in particular.

But there is no doubt that the Roland Juno-106 is my synth. It’s somewhere on every record I make. It’s the main synth on Firefly, Morning Comes, and many other tracks. It’s a very rich sounding synth, but can also be cold and harsh. The chorus has a hissing noise to it that is so perfect. I kind of hate clean sounds.

What was your most memorable performance, and why?

Fabric in London, 2012. I wasn’t even supposed to be playing solo. Francis Harris and I were supposed to play a joint set, but he had an emergency at home. That was my biggest gig at the time. I was truly scared, but I had a lot of confidence in my set. Plus, they are so professional and nice there, I was in good hands. Short of my computer just freezing I knew there’d be no issues. Mr. C, who got me out there in the first place, moved my set later so “everyone would be proper high” when I played. I was floating above my body the whole time. My brain kept saying “something is going to go wrong!” but I just kept pushing buttons and it went off great. It feels good to know you were given a big chance and you met the moment and did your best. Funny thing, I found out recently that Mark (Man 2.0) was there that night, years before we met and starting working together.

I know you didn’t ask, but just for contrast, I still think about my worst gigs. I’ve cleared a few places out. It’s so demoralizing, but it’s all a part of the growing process.

Are you a dog person or a cat person? Neither?

Cats most of my life but I’m ready to switch over to dogs.

What is the last book you read? How was it?

Guns of August - it’s about WWI. It was super boring at times, but also fascinating. That was the end of Europe being ruled by kingdoms. I love history. It’s easy to forget how much came before us, and what massive things took place for us to be here today.

But honestly, I’m a terrible reader. I only finished that one cause it was an audiobook and I was rocking a newborn to sleep for hours every night.

What attracts you to the cold wave and retro synth sound?

I’m a child of the 80s - those sounds make sense to me. Synth arpeggiators make my heart sing. It’s a nostalgia thing I think. That trippy, warbly vibe that some 80s movie scores have, I love that feeling. But it’s not the same to me as synthwave, or whatever you call that really glossy synth music… you know where all the artwork is neon purple and black? That’s way too clean for me.
I’m attracted to minimal synth music from the 70s and 80s because it’s weird and brave. It pushes away from the pack, as opposed to most genres where everyone tries to sound alike. It’s also really innovative. The technological restrictions of the time gave birth to really raw and creative music.

When it comes to dance music I feel like there are two producers living in my head. One loves house music- deep, vibey, jackin, soulful, house music. The other loves cold, dark, rigid, morbid gothic type shit. Sometimes they can meet in the middle, but usually, they stand apart and judge each other like high school kids.

What are your hopes for NYC nightlife post-COVID-19?

I would love it if we’ve learned something from this time off, to be kinder and more considerate of one another, but I’m not holding my breath. I think people just want to get out there and party again, and who can blame them. There’s been a lot of pressure and depression these last few years. It will be really great to celebrate coming back together. This time has reminded me how much I need community, how much I depend on everyone for connection and purpose. At the very least I hope we can all feel that again soon.

For myself, I hope to gig more than I have been in recent years. Due to life stuff, family stuff, having a child, getting older, I’ve been mostly in the studio. And I will always be. But once the world opens up again I want to get on the road a bit more. I really miss playing live.

Any final comments? (This is your electronic soapbox for one last answer.

Yeah. We’re living through some crazy times. I know for me it’s really easy to get discouraged cause I hoped as humans we were more evolved than we are. It’s easy for me to hate the world. But I would just say it’s worth fighting against that urge. It’s worth trying to be good and kind, no matter how challenging. Don’t let shitty people chose the direction of your life and where you put your energy. Keep your head up. Focus on making good things in the world. Deep deep down below all my anger I’m an optimist. I know we can do great things.