Can you talk to us more about your latest single “PAYBACK”?
The song PAYBACK is about the multiplicity of revenge. The song is about a partnership gone awry – both parties begin seeking revenge and it turns into a contest of who can hurt each other more. When you let spite drive the car you’re going to end up in the ditch.
Did any event in particular inspire you to write this song?
A hostile relationship that turned into a competition of who could hurt each other more.
How was the recording and writing process?
I have a home studio that I tracked all the of the instrumentals on. I used a lot of old synths from the 80’s on it. I had wanted to create a song that weighs revenge how childish it can be. I had established the melody for the verses & had some great co writers (Maxwell Pankiw & Savannah Dawn) help clean up and inspire what the song was missing.
What was it like to work with Spike Stent and how did that relationship develop?
Funny enough he was our first pick to mix the record and we had met with our A&R at virgin who shared the same last name as spike & we paused and asked him if he knew him – and it was his father. After Spike heard the music he was on it and he added a spice to the project that no one else can.
How much did he get to influence the track?
He had a great influence on the atmosphere of the track – he helped a lot in making the world feel coherent.
Your sound reminds me in some way to the likes of Frank Ocean and Grimes – do they influence your writing in any way?
Thank you! What a huge compliment. Frank Ocean has been a big influence on how I look at music in general. As a medium for storytelling music is so ephemeral – it’s emotional scale is absolutely infinite. I found myself looking at my projects as physicals spaces, as if they were a house. Some songs feel like an open warm living room with a fireplace, others feel cold and sterile like a bathroom. I learned a lot from Frank when it comes to how to tell a story.
There’s also a strong vibe to the 80s, especially to bands like Genesis – do you borrow inspiration from that decade in particular?
Funny enough I think it was more situationally. I couldn’t afford a lot of equipment when I started. When I was 16 I got this Korg Poly 800-II at a garage sale for $5 and it’s been used on nearly every track on the album. I think the sound came more so out of necessity to create rather than inspiration.
How do you go on blending the classic with the modern?
Retro-Future is a term that I find myself thinking about a lot when I’m working on a song. Having an awareness and respect of past and contemporary sound is so vital in creating something fresh. I think genre is an old concept and this generation is really pushing it. I love to look at an artist like Brian Eno and think how can I combine this sound with an artist like Sean Paul.
What role does Canada play in your music?
It’s where I was born and it’s been the land I grew up in. I think the seasonal cycles play a large role in how I create as well. The environmental factors play into the emotions of the sound so much. Songs like BAD CHILD and Payback were written in the cold heart of winter where a lot of the other tracks were written in the summer.
Where did you find the inspiration for the songs and lyrics?
Many of the stories are my own and I try to tell them through unflinching sarcasm. Many ideas arise from eavesdropping, it’s so interesting sitting in a cafe and listening to what people are going through. Meeting interesting people and hearing their stories as well – It’s like walking into a movie halfway through the picture and trying to piece it together.
Any plans to hit the road?
2019 is a big year.
What else is happening next in BAD CHILD’s world?
A whole lot of music, videos, shows, and an album titled Free Trial.