Sexy Seattle synth-rocker Farchild finds inspiration in heavy metal

August 25, 2008 at 12:28 am (Alternative Rock, Industrial) (, , , , , , )

Interview by Julian Wilson

With an icily sexy synth-rock sound that is more Sheffield, England than Seattle, Washington, Farchild slashes perceptions of the Emerald City’s aging global image of Grunge Central. Like Santogold, Farchild is opting for a retro-futuristic makeover of pop music, uniting alternative rock, hip-hop, and electro-pop in darkly alluring fashion.

Julian Wilson: Your music strays dramatically from what has been viewed as “the Seattle scene” for nearly twenty years now. Is it harder to develop a following for a decidedly electronic-based style in the Emerald City?

Farchild: Ha. Well, I’m not really from Seattle so technically I’m allowed to deviate from the norm. That is a valid question, however. It definitely might be more difficult to develop a Seattle following for electronic-based music; but then again, that’s not really going to stop me from creating the music I want to. I think there’s a balance to be attained when it comes to satiating your own artistic needs & satiating the needs of “the public.” In that respect, I guess I’m a bit selfish. In the studio, I prefer to let things take shape naturally, without a formula, and without worrying if “the public will embrace my style or shun me.” In essence, I do want I want.

Wilson: How long did it take to you to develop your style?
Farchild: Still developing, actually. I’m pretty new to the biz. Starting producing on a very hobbyist level about three years ago in college on “Cakewalk” with a computer microphone. Things kind of snowballed from there. Taught myself guitar, got back into piano (took classical lessons as a child), bought a little synthesizer keyboard and started cranking out tunes and programming in my dorm. Having few options as far as sound capacity/ equipment forced me in a certain direction, kind of molded me into a one-woman band.
Wilson: Of all the new artists currently, who do you have the most artistic kinship with?
Farchild: I have unwavering respect for Trent Reznor of Nine Inch Nails, or really any artist who produces their own music. Seems to be a bit of a lost/ non-existent art in the mainstream. I also like Reznor’s business model. He’s rather hands on, to say the least. I’m also a fan of female artists/producers Bjork and Imogen Heap. They’re quite talented as well. At the end of the day, I find myself having the most fun locked away in my studio producing and songwriting, turning knobs, layering sounds on Pro Tools, writing lyrics – pursuing music in it’s purest form. Can’t get much better than that.
Wilson: Are your lyrics based on your personal experiences?
Farchild: Yes. Writing/poetry is incredibly therapeutic. I have a lot to get off my chest. I personally feel compelled to write about things I’ve been through, keeps things honest. When I settle down one day and get rid of all my young adult angst, then maybe I’ll start telling other people’s stories. 
Wilson: What artists are your least obvious influences and in what ways did they inspire you?
Farchild: Metal! I love metal! I wouldn’t categorize Farchild as metal at all, but I think I’ve been influenced by the genre. I just love gritty, angry, guttural music. A friend in middle school turned me onto Korn and something about the genre just resonated with me. It was pained. Twisted. Beautifully ferocious. I’m a big fan of Linkin Park, Slipknot, Rage Against the Machine, Otep, System of a Down, Tool. I love melodic metal: Metallica, Dream Theater, Lacuna Coil. My music is tends to be melodic and a bit on the dark side so that influence is there


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Wolff could be rock’s first tuba hero

March 5, 2008 at 8:46 pm (Electronica, Industrial) (, , , , , )

Derek’s New Music Bin

Artist: Wolff

Album: Addition by Subtraction

Rating: 9/10

Official Website:

Written by Derek Jensen

The day that the tuba becomes a primary instrument in rock & roll is when you know progress has finally been made, that the cutting edge has been sharpened once again. Wolff is seriously ahead of the pack. While industrialists like Nine Inch Nails don’t know where to go anymore, Wolff has clipped on guitar pedals to his tuba and is taking us to sonic terrain previously unheard, at least from my ears. The title cut is oppressive and claustrophobic, recalling Dessau and Ministry and other dark, machine-like European bands from the late ’80s to the early ’90s. However, those acts relied mainly on synthesizers and drum machines to pull off those cyborg effects, not a tuba. “What I See” and “Screaming Tuba” will leave you similarly bruised.

Wolff never loses momentum or his sense of rhythm; Addition by Subtraction moves along fairly quickly and always keeping our interest. Not everything is grim, either. “Broken Words” is actually danceable. Too weird for you? Maybe, but perhaps not. I was actually surprised at how melodic this record turned out to be. It’s not too far off from the experimental sides of Depeche Mode and New Order.

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