Oppenheimer’s Elevators “Adults Are Just Kids Wearing Masks”. Thomas Simon Saddier Interview.

What led you to develop the project Oppenheimer's Elevators and what is the meaning behind the project's name?

I developed the project during the Covid pandemic in 2020, right after I had just arrived in Montreal and found myself stuck at home. I have a small home studio with lots of instruments, so I started composing instrumental tracks that were quite different from the music I usually make, as I am more of a singer-songwriter. I made the first three EPs of Oppenheimer's Elevators in 2020. Then, the project began to take shape, and I started performing live under this name, solo, using a looper and a computer to handle the drum samples and synthesizers. The meaning is simple: it comes from The Simpsons. There's an episode where Homer has a nightmare in a cinema, and there's a poster for a fake movie showing a nuclear explosion in an elevator. It left a mark on me when I was a kid.

Your album "Adults Are Just Kids Wearing Masks" addresses deep themes. How did the idea for the title come about, and what message do you hope listeners will perceive?

The title came from a Montreal band that I really dislike. I'm starting to turn into a grumpy old man who can no longer tolerate artists who are insincere with their art. It's also an album that talks about our era. Our time is the era of adult teenagers. My generation is a generation of delayed adolescents who don't want to grow up. I totally understand why, but at some point, life cannot be denied.

You played all the instruments on the album yourself. How do you manage that complexity, and which instrument gave you the most satisfaction during recording?

I was lucky enough to take organology courses at university, which gave me the basics to understand the mechanics of any instrument. There are instruments I master very well, like string instruments or keyboards, but if I play the saxophone, there's a good chance you'll call the police. I've always enjoyed playing many instruments. At the beginning of my career, it was a challenge because you have to master each instrument's playing technique. Now, it's part of me, and there isn't really a challenge anymore, which is why I continue to explore new instruments. The instrument that gives me the most satisfaction is the studio itself, being able to create the music you want from home. It's magnificent because it offers artists incredible freedom but also democratizes music creation.

Many tracks mix sounds like the sitar and synthesizer. What is your approach to combining such different instruments?

For the sitar to blend well with synthesizers, I use an electric sitar from the 60s, which I play through guitar effect pedals like delay, chorus, or reverb. Additionally, I often use synthesizers to create drones that pair well with Indian scales.

How would you describe the influence of your personal life and experiences on the composition of this album? Are there specific events that inspired certain tracks?

I completed this recording fairly quickly, with two weeks of recording and one week of mixing, including the mastering. I had a clear vision of where I wanted to go and had the album's structure in mind. Everything went very fast. As for inspiration, I cannot deny that my life greatly influences my music. It would take too long to explain everything, but I can share an anecdote. "Acid Girl" was inspired by a friend who treats her depression with LSD.

What Ukrainian artists or musical genres do you know or appreciate? Would you like to collaborate with 

Ukrainian musicians?

I really like Jinjer. They're an extraordinary band with an incredible singer. I would be very honored to play sitar on one of their tracks.

Are there any particular moments or episodes related to the creation of "Adults Are Just Kids Wearing Masks" that you remember with affection or difficulty?

The mastering was the most difficult part. I wanted a homogeneous sound, and with each track being completely different, I had to work gently to ensure that all the tracks formed a cohesive whole.

Besides music, are there other forms of art that inspire or influence your creativity, such as cinema, literature, or painting?

In addition to music, I write novels. I’ve already had the chance to have two of my novels published in France. My musicology thesis was also published under the title Sitar et Rock n Roll by Camion Blanc Editions, a publishing house specializing in rock.

What are your plans for the future of the Oppenheimer's Elevators project? Are you working on new projects or exploring new musical directions?

I continue to compose for this project. I already have the first track for the next album finished, and I will continue to slowly compose it. I also play in other projects, like Lesbian Speed Dating, a very Beatles-esque psychedelic rock band, Sens Sauvage, an electro-pop duo in Montreal, and also my own project under my name, which is more focused on French-language songs. So, a lot of musical directions.

On a personal level, how do you balance your artistic life with your private life? Do you have any rituals or habits that help you maintain that balance?

The artist’s life is always complicated, especially when you have a family. I have a two-year-old son, and it's not easy every day. I'm lucky to be a teacher and not work in the summer, so I have more free time to make music. The hardest part is the administrative side of music as a profession. Between invoices, royalties, labels... it takes away time, and this is becoming a growing problem.