You started out playing drums before becoming the frontman of your own project. How has this informed stepping out with a solo project and directing a band?
I’ve always been conscious of how I would approach leading a band whilst I was playing drums for other people before, learning from how others directed projects and wondering if there was anything I would do differently. I’ve been lucky enough to work with some amazing musicians and it’s definitely shaped my approach to my own project, with rhythm very much at the forefront of everything I write. I’ll usually start by messing around on a kit and build from there.
Your songs move between glam rock, psychedelia, post-punk and all sorts of other sounds; what are the main references for this mix of genres?
All of my biggest inspirations have been artists that never sit still and draw from a wide range of influences, and I think more artists are doing that now than ever before, with instant access to so much recorded music and concert footage it’s allowed so many great musicians to draw from such a wide pool to keep music evolving. I’d like to think that comes across in my music as well, and that hopefully it will evolve in a similar fashion.
You’ve talked about writing lyrics without necessarily knowing what they’re about until afterward. Have you ever written something that surprised you when you read it back?
Yeah for sure. I feel writing always unlocks emotions that you never realised you were experiencing until they’re written down, or maybe did realise but couldn’t quite understand how you really felt at the time. When I started writing I was far too intent on working out the meaning behind my lyrics before I’d even put them to paper, and would just end up staring into a blank page. It feels much more natural to just see what comes out, and far easier to process what I was trying to express when I come back to read them later on.
Is there a song you’ve written that you still don’t completely understand?
Lots! There are songs I thought were about a certain feeling and listening back I now feel I meant something completely different. Or songs that I felt had lots of depth at the time but now seem more nonsensical and abstract. I feel as though the meaning behind pieces of music change just as much as we do over time.
You’ve described ELLiS·D as a more confident version of yourself. Has this persona helped your everyday self become more confident and has the theatricality of it bled into your reality?
It’s hard to say really. Overall it probably has helped, but I’m still far more confident stepping into character onstage than I am in social situations. It’s quite natural I think when going to see an artist to have a preconception of what they’re like as a person that ties in with their stage persona, and when chatting to audiences on the road the thought of that can fill me with confidence but other times make me shrink into my shell a bit.
How do you approach recording and the live show as different entities?
Up until this point in time I’ve taken a very similar approach to both, as working with a DIY label so far (shout out to the amazing work of Crafting Room) has meant studio budget has been very limited, so before going into record, everything has to be pre-planned, rehearsed and timetabled to fit into a very short space of time, much like preparing for the live show. I’ve been fortunate to have had support from the charity Help Musicians to both record Spill EP and get on the road for my first tours, without which I’m not sure I would have been able to do either, and were such important formative experiences.
Do you have a clear visual idea of ELLiS·D, or has that identity developed naturally alongside the music?
I think it’s something that has consistently evolved whilst growing the project, and I hope will continue to for a long time - I’d hate to ever be in a place where I felt like I’d settled into one particular identity and was set on staying there. Sammy Jones, who plays bass in our touring band, also designs all of my artwork and a great deal of the visual identity, and is crucial in helping me figuring out how I want my artistic identity to develop.
You’re playing in Fat Dog while developing ELLiS·D as your own project. Do the two sides of your musical life influence each other and have you learnt anything from that experience?
Definitely. Playing with Fat Dog has opened up a whole new world for me in my experiences as a musician, performing on stages I could have only dreamed of not long previously, seeing how they as musicians interact with an audience and get people going has been amazing to watch and be a part of first hand. Every different artist I’ve worked with I’ve learnt something from, and Fat Dog is a huge part of my musical journey that I’ve gained so much from.
How has being a part of the Brighton scene informed your music and what’re your favourite venues / new artists there?
It’s had a massive impact on me for sure. When I first started going out to shows in Brighton there was a really exciting scene happening primarily at Sticky Mikes Frog Bar (RIP) - a night called Late Night Lingerie in particular, with bands like The Wytches, Demob Happy and others starting out, and feeling like a part of that was thrilling, something that has stayed with me ever since. Different scenes have come and go over the years but there’s always been a really strong feeling of togetherness with everyone involved. We’re really spoilt for great small venues in Brighton - The Prince Albert, Green Door Store, Rossi Bar just to name a few, these are the kind of institutions that are so important for keeping this sense of excitement in music alive. Some of my favourite artists in Brighton right now are Plantoid, Softop, Slag, Oral Habit and Lemonsuckr.
Musically, what’s something you’ve been completely obsessed with lately?
I love Bill Callahan’s new album and I was so gutted to miss his Brighton show last week as I was away. Our live guitarist Harrison has also recently gotten me into Canadian duo Kacy & Clayton who are incredible and I’ve had their albums on repeat recently.