Music’s great seducer
Leather, latex and studs, Wild Daughter embody the era-spanning path of a punk band’s anti-archetype. Beginning (as so many great things do) as a ‘one night only’ stand, Wild Daughter are now in their second year and the honeymoon has never left. Dancing in the raw, red light of London’s The Backstreet, Stuart Mckenzie, James Jeanette and Jacob Shaw have struck gold. From the pornographic pleasures of Bed Bugs to their latest EP Crashing Again, there’s something inherently foreboding about what arrived this 2020, yet satisfying in its synonymity. Alongside the release of Crashing Again, Wild Daughter has released an upcycled clothing collab with Dr Noki, sharing the illuminating words of Li Ruzchen. It was a pleasure to speak to the group about their latest work, and those magic moments when a vision falls into place.
Your latest single envelops the nostalgic air we all pursue when listening to music. Bringing musically back to its emotionally stimulated core. How would you describe your creative process?
I’d say our creative process is intuitive… sparked by a feeling. Getting the basic song down is relatively quick. Songs will show themselves and sometimes they will be great to play live but don’t feel right to put down in the studio…this song, Crashing Again, for instance, we played at our earliest gigs then didn’t play it for a while. After Jacob joined we revisited it and John ( Gosling ) pushed it further with his production.
Does this process look exclusively within, or anticipate the way it will make the listener feel?
It all starts from within. Then, once worked on for a bit, the idea of the listener or an audience is there on a subconscious level. But you tend to trust your own instinct: does it taste good? What’s the after taste? Does it stir something? If we love it after asking these questions, then that’s a good sign.
Wild Daughter is inherently modernistic in its transgression- from the places you play, how you receive funding to the audience you attract. Do you see a conscious balance between classic elements of rock and the modern underground pursuit?
Obviously, it’s pinned down to the rudimentary’s that always gives us something to go back to. That said- we then (as we often do) push it in all directions. It’s the not knowing where it’s going which is the great seducer and why we continue to be excited with making music.
“The last of the underground”, is a statement often used alongside Wild Daughter. What does this mean to you?
Hopefully, we’re not the last of anything …we just do what we do! We have always been drawn to the ‘outsider’ or those on the fringes of society which we feel most affiliated with. Maybe we’re not unique in this, as lately we have been thinking ‘let’s go back Underground’ as in; can we find a way using the technology of today, without the control of the big companies that run everything? We’ve felt a definite pull between using these platforms to connect to your audience and being used by corporations to make them money … but I guess its always been this way, with the music business most obviously. At this time we’ve been enjoying having conversations with other artists who share this feeling and investigating where this might lead.
Having been equated to iconic bands such as Sex Pistols, where do you see your story’s similarities to the traditional band equation, and alternatively, what do you think has placed you on this unique path?
First of all, that is a very nice compliment. I guess the desire to change the status quo, to defy expectation and stimulate is where we see the similarities. You might also want to say Raw Energy.
The context in which the band was created is a compelling one; looking back- how much influence has this beginning played on your musicality today?
We try to keep a primitive approach to playing, that’s what keeps it feeling alive and exciting.
Counter-culture is a place many of us find our home. How does the scene inspire you?
It’s our own personal scene that inspires us- usually a dissatisfaction with something and a desire to make a change.
From music to fashion to art – all these mediums make the Wild Daughter identity. What’s the balance?
Fluxus – meaning we’re more about the artistic process than just the finished product. It’s ever-evolving. Flux and mutability – that’s us!
What can we hope to see in the future for Wild Daughter?
We have a five-track EP called Red Truck coming out end of February where the tracks Crashing Again and Bed Bugs are from, Produced by John Gosling … this will be available on limited edition Vinyl. Self-released on our own label, Sig’il Records. We have also recorded an album again produced by John which will hopefully be released in the Summer. We are looking forward to performing again when that’s possible and however that will look. We are investigating new possibility in presentation for the album.