Here’s a quote from Kess Anthony: “ a sound that is so current that the genre hasn’t been created yet.” WOW. Having listened to the record, I have to agree! How did you arrive at this fabulous electro-punk feminist rage noise I can hear coming out my speakers right now?
Honestly, it was pretty natural. The three of us really took to each other at uni and after the first practice, it became apparent that it was a great fit. We all have extremely different musical influences and I think that’s where the ‘genre’ bending comes from. Recording the album has really helped us progress our sound in all the weird ways, so we’re all excited for it to be coming out so soon. It feels pretty intangible that it’s all happening so fast.
You’ve said that “guilt is for the privileged” as part of your explanation of CLT DRP’s creative process. Can you expand on this and talk about what else you bring to your songwriting sessions?
When I made that statement I was trying to explain that there’s a lot of people including myself that have a hard time taking responsibility for our mistakes. It’s one thing to apologize and feel guilty about it for a day, then another to actively change your habits and the way you speak and respond in situations. I was reading an interview with Munroe Bergdorf and I remember her saying something along the lines of ‘guilt isn’t a productive feeling’ and it really stuck with me. I’ve always been a bit of a ‘people pleaser’ and I’ve only in the last few years tried to find my boundaries but also acknowledge my privilege in our society. The album is about the regression and progression I have with feminism, nothing is easy and it’s all a long process. Writing with Scott and Daphne really is one of the most cathartic feelings I’ve ever experienced. They are incredible musicians, and always have new ideas and songs just waiting to go. I usually write lyrics after the structure of the song is finished, but we always work through ideas together.
What is the best thing, for you, about being a woman working in the music industry?
Right now the best thing about being a woman in the music industry is that I’m lucky enough to have a platform to push boundaries. I love seeing people’s reactions to the band, it’s empowering making people feel uncomfortable enough to question their actions.
What would seeing a woman in the headline slot at Download Festival mean to you? Do you have a pick of who you’d most like to see in the slot? (other than yourselves, of course!)
I’m just tired of seeing bills that aren’t even 50/50. Like it’s not that the diverse/female acts aren’t out there. Whoever is booking these festivals just aren’t looking. Chelsea Wolfe has always been one of my favourites, she is just a powerhouse of a performer. She could easily headline, she’s punk, metal, rock and modern. Her sound is fresh and better than a lot of what’s on that bill right now. Also, Lingua Ignota, Nova Twins, SOPHIE, Venom Prison are some other incredibly mental musicians I would love to see on that bill.
Thank you so much Annie! Chelsea Wolfe would be a SICK headliner. Check out CLT DRP’s music on all the usual platforms and make sure you sign and share our petition, linked below!
@cltdrp on Instagram
@dlgrl2021 on Instagram, facebook.com/DLGRL2021 or search #DLGRL2021 on Twitter.