Residual Self’s new album RESEED is a bold dive into the themes of lust, empowerment, and depravity, exploring raw and unapologetic experiences that resonate through intense music and provocative lyrics.
1. Congratulations
on the release of RESEED! This album dives deep into themes of lust
and depravity. Can you tell us how these themes shaped the concept and music of
the album?
Thank
you, we’re very proud of the way this album has come out! We’ve been working on
it for a long while! Due to the world pandemic, we saw a huge boom in the adult
industry; From creation to consumption on both amateur and professional level.
Sex truly does sell. While the world was shut down, I [Rex] began to find
myself surrounded by strippers, erotic photographers/models, and more. As my
relationships in this world grew stronger, I found that some of these people
were doing this before the pandemic, while others turned to it due to either
loss of their jobs, or even pure boredom with nothing else to do. Men and women
from all walks of life came to create and even more to consume. It was that
realization that led to the creation of RESEED. Titles became inspired by
the names and atmospheres I exposed myself to. The stories I have been told,
both good and bad, helped shape the songs. The more I delved into the world,
the stronger the lyrical aspects became.
Residual
Self would get together every week and begin to work the music around the words
that were written. In our experience, the music should always compliment the
words. Over time, songs began to take form and continued to be tweaked until
the songs felt right to record.
2. The
track "Magdalene’s Whore House" features vocals from Molly Rennick of
Living Dead Girl and sound contributions from some prominent 18+ creators. How
did these collaborations come about, and what impact did they have on the
song’s vibe?
The idea
for having 18+ creators featured on RESEED was in my head even before a song
for it was decided. When this song had completed lyrics and music, I knew this
was the song.
Living in a
digital age, I was able to reach out to four of my favorite creators
(OmankoVivi, Lyra Skye, BatixBabi, and Seafoam Siren). I explained my “strange”
request and what the intent was for. These creators were happy to be a part of
my vision and I am truly thankful for it. I was able to direct them and get
multiple samples of moaning from each one. I took my favorite parts and added
them all into the song. It comes across very much like Type O Negative had done
on their album ‘Bloody Kisses.’
Being a big
fan of Cradle of Filth as well, I was always drawn to songs that had a female
vocalist that helped compliment Dani’s vocals, such as ‘Nymphetamine.’ I wanted
to experiment with that, as it’s something Residual Self had never done before.
Once again,
because of the digital age, it’s so easy to send tracks back and forth across
the planet. I became aware of Molly’s band “Living Dead Girl” around the same
time we released our first album, ‘Revenge.’ I was a big fan of her vocals and
the band. Since she is also involved in the ‘adult’ side of entertainment, I
knew she would be perfect. We talked via email for a bit to figure out all the
details. I sent her the lyrics and the rough studio tracks to use as a guide. I
thought having two tracks of her would be great, using a clean and scream
blended together. Upon Molly’s vocal takes, she added a third track doing a
whisper. That whisper was such a great call. Our producer [Nick Bellmore]
worked his magic to blend all three tracks into the final recording.
“Magdalene’s
Whore House” is what I [Rex] consider my magnum opus, and it is the longest
song by the band to date. This is the song I am most proud of, and am extremely
grateful for everyone’s contributions to see my vision through.
3. You’ve
described RESEED as an anthem for deviants and empowerment
through explicit acts. What message or feeling do you want listeners to take
away from the album?
I [Rex] take pride in embracing myself. I feel no shame, and no remorse. I find that too many people are afraid to embrace their desires. They hide behind the shame of what society deems normal. Whether it be in lust, greed, envy, or any other sin; Each person should do as they desire, and do so with pride. No one should feel put down or afraid to speak up about themselves. No one should feel afraid to try something new. Life is too short to let other forces dictate how you want to live. You’ll find more like-minded spirits when you are yourself.
4. Nick
Bellmore has been a recurring collaborator, handling production at Dexters Lab
Recording. How has his involvement influenced the sound and energy of Residual
Self, particularly on RESEED?
After our last album with songs like “Mistress of Pain” and “Queen Fiend” we can guarantee that Nick saw the style of RESEED coming a mile away! We’ve been recording with Nick since 2018. He understands our dynamic and writing style. Nick is not afraid to speak up with ideas, as he’s usually right when he comes up with things! This time around, he really wanted us to embrace the Type O Negative sound. We added some distortion on the bass, giving off the Peter Steele style. With the vocals, it was a collaboration of him and drummer David that helped Rex decide what needed additional layers and if they should be high or low growls. Nick also helped flesh out the guitar work, directing Josh on where repetitive guitar licks work, or where fresh guitar leads would be best. Rex also tends to make songs longer than necessary, so Nick and Josh are able to cut out the fat and get right to the good stuff - with some resistance and compromising from Rex
5. DJ
Trevor MacLean makes a return on tracks like "We Can Escape" and
"Soulless Harpy." What inspired you to bring him back, and how did
his beats and sounds help shape these songs?
Trevor is
what we’d consider an honorary member of Residual Self. He’s joined us on stage
a few times, and even filled in on drums for some shows. At one point, he was
Josh’s roommate, so he would jam with us a lot of the time while we’d practice.
Being trained as a Jazz Drummer, his ideas for beats and different sounds
complement certain tracks. It adds an industrial element that stands out for
us.
6. Your
track titles, like "Cuntess," "Succubitch," and
"Siren," are blunt and provocative. Can you share the story or
inspiration behind these titles and what they represent in the context of RESEED?
These song
titles are inspired by certain adult creators, much like most of RESEED as a
whole.
As far as
“Cuntess” goes, OmankiVivi once referred to herself as a Cuntess, and I thought
it was sexy and empowering. By taking the word Countess, removing the “O” to
make that word and then using it for branding. It was a
powerful statement. This then made me think of The Blood Countess - Elizabeth
Bathory, who was accused of torturing and killing hundreds of girls back in the
1590-1630’s. Legends claim she bathed in the blood of virgins which retained
her youthful looks. The title came from Vivi, but this song’s story is based
around Bathory.
You can
hear Vivi moaning on “Magalene’s Whore House.”
“Succubitch”
is a play on words since it sounds so close to “Succubus.” A succubus is a
female demon that comes to seduce men in their dreams. This song in both naming
and lyrical inspiration is an ode to a stripper who goes by the name
“Succubux.” The song is inspired by the many times me, and others would throw
our cash (bucks/bux) at her on stage.
A little
fun fact is that Succubux was on the cover of our album Revenge (the one
wearing red.)
Someone
once tried to insult our music by saying it was “gay pirate metal” and we all
had a good laugh at that. I took that idea, and ran with it. “Siren” is
inspired by Seafoam Siren. In mythology, a Siren is a beautiful creature that
lures men to their death with their sweet songs. The song with its pounding
drum beating, and heavy chugging guitars is designed to make you feel as though
you’re aboard an old-time ship against a roaring current. The Siren is in your
head, and there’s no way you’d leave her.
You’ll also be able to hear Seafoam Siren moaning on “Magdalene’s Whore House.” Seafoam Siren also modeled on the cover of our album Revenge (the one wearing black)
7. Rex,
your vocal style on this album has been described as ‘growling and snarling
through hellish endeavors.’ How did you approach your vocal delivery to match
the intense themes of RESEED?
I’ve always
been fond of doing character voices, whether it’s reading books, playing board
games, video games, or watching subbed anime. I have always tried to create a
voice that matches what the vibe of the character is. That is why I started
doing vocals to begin with. I wanted to make “Rex” a character that transcends
beyond me as a person. Our drummer David and I watch a lot of anime. We both
give each other recommendations weekly. So, when it comes to studio work, David
has the best grasp on what I am aiming to do. David would read the lyrics for
the first time while Nick would be recording me. David is pretty creative and
it’s nice to have someone to bounce ideas off of. David and Nick would talk
about what they think might need to be layered or certain things to try.
Certain lines or even single words stand out to David more than others, so the
three of us would work together to make sure those key sections stand out to
even those casually listening.
8. Residual
Self is known for embracing longer, intricate solos and grooves. What led you
to take this approach, and how do these extended sections enhance the emotional
and musical experience of RESEED?
I love
songs that are described as excessively long. (Shoutout to Iron Butterfly’s
In-A-Gadda-Da-Vida) As a musician, I come from a background of blues and hippie
jam bands. I tend to notice songs in the rock world now are between 2-4 minutes
mostly, and even then, a 30-second hook is where the focus is (for tiktok and
reels.) I don’t want to write jingles, I want to write songs.
While my
words are the most important factor in my writing, the ambience and mood
setting of the music can shift the narrative. Sound can carry its own weight of
emotion, depending on how you play. Josh is one of the best guitar
players I have ever heard. He articulates every note and is able to get the
feeling across. I write all the songs on an acoustic guitar and show Josh the
basic foundation. I let him run with what he thinks is best, and will only
point out things I do not like. If I want him to change things up, I’m glad I
can hum a pattern or tell him the basic emotion and he understands where to go
with it. I like to get lost in his playing while we’re creating the songs and
that just carries over into the song when it’s written. The same thing goes for
David on the drums, I let him run wild and reign him in if there’s something I
don’t like and want to change.
I’ve often
been told I am too blunt and too direct in my personal life. But, I don’t like
to beat around the bush, nor do I like to waste my time or anyone else’s for
that matter. That said, I honestly can’t think of anything that was truly a
challenge. I’ve always just had a goal in mind, and set out to do it. Sensual
darkness is part of my everyday life and I am always open to discussing my
endeavors.
10. Looking
ahead, do you see Residual Self continuing with themes of darkness and
depravity, or are there other concepts you’re excited to explore in future
projects?
Depravity and sin will always be our focus. From wrath and envy on "Revenge" to lust and greed on "RESEED" Residual Self is exposing a lifestyle to be experienced or ignored. I embrace my sins, and I am damn happy. All I can do is show the door, it’s up to anyone to walk in or walk on by.
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