Start Listening To: ELLiS·D

Unleashing musical madness with ELLiS·D: from psychedelic jangle to table tennis battles.

If you're into twisted, psychosomatic art-rock, then ELLiS·D's latest single, "Degenerate Effeminate," is right up your alley. It's like they've hacked into the matrix of music-making and come up with something entirely new. But the real magic happens during his live shows where he plays with different musicians and instruments, every performance is a wild ride, like a game of musical roulette. And let's not forget their pre-show ritual of playing table tennis with the band. So join us for this Q&A as ELLiS·D talks about his creative process, influences, and more.

Can you tell us about your transition from being a drummer in Strange Cages and Jealous Nostril to starting your solo project as ELLiS·D?

It was always something I’d had in the back of my mind that I wanted to do, and it felt like the right time to try something different. I never looked forward without thinking that I would eventually want to start my own project someday, as much as I enjoyed (and still enjoy) playing drums live.

You released a prolific amount of music in 2022, with two EPs and four singles. Can you talk about your creative process and how you managed to produce so much music in a short amount of time?

The way I like to write is by locking myself away in my shared studio space in Brighton, set up a kit and guitar amp, turn my phone off and jump between instruments toying with ideas and structures and seeing what comes out. I think it definitely helps with being prolific with writing, as well as being my favourite thing to do!

Your February 2023 single ‘Straitjacket Blues’ signified a marked shift in your music, with new wave and disco infused kraut rock weaving its way into your sound. Can you talk about the inspiration behind this shift?

It’s always important to keep moving forward as an artist and pushing yourself to create in different ways. There’s a famous Bowie quote along the lines of ‘if you feel totally comfortable in what you are creating, then you’re not making your best work’ and that has always resonated with me. Every release cycle is a chance to challenge yourself and test the boundaries of your creativity and that’s what makes writing music such a rewarding experience.

You’ve gained radio play from BBC Radio 6 and Amazing Radio, as well as selling out shows in a UK headline tour. How does it feel to receive this level of recognition and support for your music?

It feels great, of course. Primarily I believe it’s always better to make music for your own gratification above anything else, but to know that other people are enjoying what you do is always going to be a great feeling.

Your new single ‘Degenerate Effeminate’ is described as a twisted, psychosomatic art-rock number. Can you tell us more about the inspiration behind the track?

I wanted to make a track that encapsulated that feeling of how we unconciously have so many different characters in our personalities that come out in different situations, and Degenerate Effeminate is a kind of portrayal of two very different sides of myself.

How did your collaboration with producer Shuta Shinoda come about, and what was it like working together?

Shuta reached out to me initially after seeing a show of ours at The Shacklewell Arms in London last year. I had been on the lookout for a new producer to work with and it was perfect timing on my end. Previously I had been recording in a very DIY style which, even though I’m still really proud of those recordings, felt like it needed a shift away from as I experimented with a new style, and Shuta has been great in helping me craft that.

You’re embarking on your first European tour, as well as supporting Razorlight at Brighton Dome and Hammersmith Apollo. How do you prepare for live performances, and what can audiences expect from your shows?

I don’t have any particular pre-show rituals to speak of, although if there is ever space for it in the green room I usually bring along table tennis bats and make a makeshift net out of the rider beers to play with the band! I find it really helps me focus my mind and calms any nerves I might have, of which there certainly were a few before our show at Brighton Dome (and most certainly will be before Hammersmith Apollo).

I always want to bring an element of mystery to the live shows, and work with a range of different musicians to ensure that it never sounds 100% like any of the recordings - for myself, I find that to be one of the most thrilling aspects of going to see a band live when you don’t know exactly what to expect. It also helps keep me on my toes as well!

Your music has been described as leaping viciously between psychedelic jangle and taut post-punk attack. Can you talk about the range of influences that inspire your sound?

I’m definitely heavily inspired by those two genres, among many others, as well as performers with a real intensity about them - some of my favourites being Savages, Nina Simone and Oh Sees. You’re always playing a character through your music and that separation between person and performer that so many of the best artists channel in their music is always something I’ve strived to do myself.

You’re a multi-instrumentalist, playing guitar, drums, bass, and keyboards. How does this versatility contribute to your music-making process?

As I say, when writing I like to flit between different instruments and warp everything together to try and bring something a bit different than a chord structure or jam session. Certainly in moments where perhaps the inspiration isn’t quite there it can make for challenging experience but I enjoy the solitude of writing by myself.

You’ve been compared to David Byrne and Cate Le Bon in your off-beat vocal quirks. Can you talk about the vocal style you bring to your music?

I never really thought too much about how I wanted my vocals to sound when I first started playing with this project, but after a few shows I quickly settled into a rhythm with what I found comfortable and I really enjoy being able to express myself vocally in a manner that is quite histrionic and over-the-top. It all kind of revolves around that idea that it’s all a character, I’m not really myself onstage and it’s cathartic to be able to have that release when singing.

‘Degenerate Effeminate’ is described as exploring the hollow eccentricities of modern artistic life. How do you navigate the balance between creativity and self-indulgence in your music?

Haha now that’s a tricky one! There’s always going to be a level of self-indulgence when making music, I’ve always felt I may as well embrace that rather than shy away from it. No point trying to pretend it’s not there. Artistry is in itself a meaningful indulgence, scouring the depths of our own psyche to present ourselves in a certain way to other people. It’s not a bad thing at all.

You’ve been signed to Crafting Room Recordings since the turn of the year. Can you talk about your experience working with the label and how they’ve supported your music career?

Archie who runs the label has been incredibly supportive ever since I started working with him for my first EP release at the start of 2022. It’s so refreshing to see someone working in that capacity for all the right reasons, for the pure joy of releasing music he loves. I’ve been honoured to work with him on virtually all my releases thus far.

You’ve been active in the UK and Europe’s basement scene for over a decade. How has the music scene evolved during this time, and how has this impacted your own music-making?

It’s a common thing to hear people say that music isn’t what it used to be, even compared to ten years ago, that the scene has wilted but I don’t buy into that all. Sure there have been big changes that we’ve had to adapt to, and the closure of so many grassroots venues is definitely a real loss, but you still see so many bands supporting each other and carving out meaningful relationships with the music around them. Scenes come and go, everything has a shelf life and we won’t ever see such tribal genres emerge like Punk or Grunge in the same way it used to, but is that such a bad thing? People are open to so many different genres of music in a way they never were before and that is a beautiful thing. It’s allowed music to evolve naturally as it has to to remain interesting, so many artists are still creating in ways that challenge our perception of how to write music and so I believe that has had a great impact. It’s not all doom and gloom!

You’ve described Degenerate Effeminate; as slicing your personality in half. Can you talk about the role that personal experience plays in your songwriting?

Everything I write has been formed from personal experience in one way or another, usually in a way that I only realise after I have written something. If I go to write lyrics with a subject in mind I usually struggle to find words that I can relate to, but if I allow my mind to essentially do its own thing then I will weirdly find that I was writing about personal experience that I hadn’t thought about, when I had originally thought I was writing about nothing in particular.

What’s next for ELLiS·D in the coming months, and what can fans expect from you in terms of new music or live performances?

After our mini-Europe tour next week and Hammersmith Apollo show, I’ll be running an all dayer for The Great Escape (officially part of The Alt Alt Escape) festival in Brighton at The Rossi Bar on 13th May which we’ll be playing at, followed by a show at Concorde2 on 25th May. Following on from that - there will be plenty of new releases and other shows to be announced!