The last time Pony Da Look played Wavelength it was magical. Maybe it was the quartet's synth-driven songs or their textured lyrics? Maybe it was Amy Bowles spreading '˜pixie dust' around the room? Ron Nurwisah managed to cram the quartet into a quiet bathroom in Xpace (it was the only quiet place in the entire building) and asked them a few questions.

SO WHAT'S NEW WITH PONY DA LOOK?
Rebecca Mendoza: Temple and Amy have been writing a lot of new songs, it seems like a lot for Catherine and I because Temple's living in Montreal and we don't get to hear them one by one. We hear them as groupings of new songs. We have also started the process of recording a new album that we want to have out this summer.
Catherine Stockhausen: I bought a house.
RM: Yeah, Catherine bought a house downtown, a whole house to herself and her cat.

THREE OF YOU WENT TO ART SCHOOL, REBECCA'S A DANCER, HOW DOES THAT '˜OUTSIDE' STUFF AFFECT YOUR MUSIC?
Amy Bowles: For me because I write most of the music and I paint abstractly, the lyrics and the painting are coming from the same place. Instead of telling a story I'm describing little vignettes. And for me, I grew up in England and both my parents were artists as well and we'd look at architecture and the landscape and stuff. And my parents are pagan so I got exposed to that a lot, bonfires and green men and all that.

CS: Her paintings are similar to some of the lyrics they're really visceral. Stuff about bodies and spores and blood, skin and gore.
Temple Bates: I get a lot of really vivid painting ideas always as I'm falling asleep and it's kind of the same thing with music. I get this orchestra of music as I'm going to bed

I WAS TALKING TO YOU ABOUT THE INTERVIEW AND AMY MENTIONED THAT THERE'S A SOFT SPOT AMONG THE BAND FOR MUSICALS? CAN YOU TALK ABOUT THAT A BIT?
CS: Oh. I do.
AB: I feel it's so descriptive. Like when you're tired you actually become the tiredness, you embody the emotion. That's what they do in musicals and that's what makes it good and interesting to me.
CS: What's better than singing and dancing your life. It's better than just talking and walking. Not that I do it. But life would be more fun if everyone sang their conversations.
AB: It's pure escapism.

YOUR MUSIC IS PRETTY DANCEABLE BUT NO ONE DANCES TO IT, WHAT GIVES?
RM: Was it the second time we played Montreal? Well the second time in Montreal, Pop Montreal, man it was so good. It was packed and everyone was dancing. It was fun. Our stuff is danceable and there's always the odd head bopping around. But it doesn't make me feel bad that people don't dance to our music because people don't dance to any music. I think people feel good when music is danceable. And I think that if they had the CD they'd be dancing at home. We imagine.
AB: I think it's wonderful that if even people aren't dancing they're looking very intense. That means a lot when you're playing, when you get that response.
TB: We like our songs to be really heavy, whether it's really slow and heavy or poppy and heavy or dancy and heavy. Even though people aren't dancing to that there's some kind of drama and excitement about that sound. Even if we're trying to make it really dancy, I find it really dramatic. Like ABBA songs or something. I'm not comparing our music to ABBA but heavy dance music is like that. You can just listen and be really involved or you can dance to it.

By Ron Nurwisah