Rats-Tails share the tale behind sophomore single ‘Coke in the 70s’.

Hailing from the eclectic cultural landscape of South East London, Rats-Tails emerge as a musical ensemble that effortlessly weaves together a unique sonic tapestry. The band comprises the artistic synergy of Chris, whose lead guitar work mingles seamlessly with Samuel's resonant bass, and the enchanting clarion of Frankie D's clarinet, all anchored by the rhythmic foundation provided by Pitt. But it's within this harmonious assembly that the ethereal vocals and dreamy guitar strains of Courtney, a captivating presence, cast an entrancing and dream-like spell.

In a recent unveiling, Rats-Tails introduced their sophomore single ‘Coke in the 70s.' More than just a song, it stands as a chronicle, a memory, and a transformative journey crafted from the crucible of adversity. Courtney, the enchantress at the helm, leads the listener through a series of ill-fated events that unfolded in the summer of 2021. From the depths of these trials, the band emerges reborn, armed with a renewed sense of purpose and poised to etch an indelible mark upon all who lend an ear. Rats-Tails beckon us to traverse the landscapes of their music, where a world of enchantment and introspection awaits.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

Courtney: We are Rats-Tails. A multi-genre Dream Rock band from South East London. We have Chris on lead guitar, Samuel on Bass, Frankie D on Clarinet, Pitt on drums and myself on Vocals & Guitar.

Sam: The great thing about calling yourself “Dream Rock” is that the definitions of that genre are so loose - I joined the band after Rats-Tails had been around for a year or so and noticed hints of funk, indie, punk, dream pop and soul. There’s not really a limit or guideline to what’s been made or rehearsed, and that comes with the freedom of just enjoying music for what it is - collaboration and expression.

Chris: Rats-Tails is also a very experimental project, we wanted to be the kind of band where as a listener you can go to a show and hear a  range of sounds without any of it feeling forced or unexpected. People have very diverse interests in terms of the music they listen to so we strive to be a band that reflects that, the genre change and visual sectionality of the songs plays a big role in our sound, not least because it’s how we enjoy music most ourselves! 

Why should people start listening to Rats-Tails?

Chris: We’re all individually learning lots as musicians, each of us are all in the process of learning new instruments and this helps us continually develop new ideas and become more aware of how our separate instruments communicate with each other. People should start listening to Rats-Tails to see where that journey takes us!

Frankie D: I’m not on any of the recordings out so far but come to our live shows for some epic clarinet solos.

Courtney: People should listen to Rats-Tails as our sound dabbles with different genres and moods whilst maintaining a dream-like fantasy. We also take our visuals very seriously and have plans to create more music videos & artwork surrounding our releases. I’m very excited for our debut EP & upcoming single releases.

Sam: Because we’ve only got two singles out and have so much more to come! Idk tho tbh just nice to make music init

Congratulations on the release of your latest single, 'Coke in the 70s' Can you tell us about the inspiration behind the song?

Courtney: Thank you! Similar writing style to ‘Spines’, ‘Coke in the 70s’ is a musical vignette, summarising a string of unfortunate events in summer 2021: 1. I lost my job due to Covid’s impact on small businesses. 2. My beloved dog, Star, passed away. 3. I was fired from my new job because my dog died on an inconvenient day for them. In the middle of all this, I had many phone calls with my mother. I remember her saying “Don’t you worry, it’s all meant to come in threes”. 4. I caught Covid. “It came in fours”. These words exist as ‘Coke in the 70s’ lyrics leading into the final climax of the song. I can see how the series of unfortunate events put me on the path I am on today. After hitting rock bottom, Rats-Tails began gigging as a duo (myself & Chris). Long story short, I get a new job and I met my pal Liv, who connected us to our bass player, Samuel. When Rats-Tails played at The Shacklewell Arms, our pal Cosette Gobat brought Frankie D to our show, although he missed our set, we became pals and he eventually joined Rats-Tails.

Hindsight is truly a blessing. When I look back to Summer 2021, that period of time hurt pretty badly, but I am so grateful for the discomfort. I am grateful for Chris, Samuel, Frankie D and Pitt. It’s a joy that I get to make music with them and we are building a creative future together.

Sam: As far back as recording, Coke In The 70s elicited certain imagery for me both through instrumentation (it gave me a kind of “spaghetti western” feel from the get go) and lyrics (literally a callout to those who fantasise a decade they didn’t actually live through), so it was kind of a case of playing around with those ideas. Courtney and I did a lot of brainstorming about what we wanted to portray and what would be fun - but ultimately a massive help in terms of refining aesthetic was knowing we didn’t have a typical music video budget. It immediately narrowed our ideas down to just seeing what we could do in one location with a few extras and whatever gear we could afford to rent. In the end, a parody of 70s music television shows such as Top Of The Pops - in itself a rather false, stylised microcosm of music culture in the 70s, seemed like a perfect representation of the song. The fun thing about parody as well is that you don’t have to take it too seriously - which of course is always super helpful when working with a shoestring budget, as you get to lean into all the limits and imperfections of the production. David Lynch’s surrealism certainly ended up being a byproduct of this - both a way to have fun on set but to also up the ante reflected in the actual difficulties of the lyrics. Overall I think we were really lucky to shoot what we got: the location was Courtney’s old workplace, extras were friends helping out, our DOP George Pritchard provided extra camera equipment - everyone pulled their weight. Directing involved me running over to check the take, then running back on to the stage to do another one. Frankie D pushed the makeshift dolly so George could get smooth shots. I spent 3 months editing between moving out of London and losing my job. Courtney pulled so many favours and found everybody involved. We used Chris’s car to drive equipment back to the renter and transport catering. These things always work when there’s a synergy between everybody and I think we were super lucky to just have fun all day and get a nice video to boot.

How has the band's sound evolved since your debut single 'Spines' and what can fans expect from your upcoming music?

Courtney: The single version of ‘Spines’ was recorded and released when Rats-Tails were a duo. Now that we operate as a five piece band, the music is fully fleshed out. We can explore our multi-genre music and every member brings something new to the table. From Sam’s epic bass solo in ‘This Way Up’ to Frankie D shredding on the clarinet in ‘Limerence’. We are planning on re-recording ‘Spines’ as there’s so many new factors to our music that needs to be heard. We now have Pitt on the drums and Samuel on bass, naturally, their parts should be recorded. I’ve recently started using a 12 string guitar so I’d like to blend a mix of the original acoustic guitar and my sexy 12 string. There’s Frankie D's clarinet and a whole instrumental section which isn’t included in the original single. We will forever adore our bedroom-pop roots and have no intention to take down our original release of ‘Spines’. Big thank you and shout out to Peter Lewington who recorded & produced the single version of ‘Spines’.

You've mentioned being influenced by artists like Ennio Morricone, Siouxsie and the Banshees, and Metallica. How do these diverse influences come together in your music?

Chris: Rats-Tails always has this very visual element to it, so for a song like this we started off with it in a very normal format, and then would gradually look to the styles and techniques. When I was first thinking about what I could do within a song like Coke in The 70s, I wanted something to sound like how the Siouxsie & The Banshees album, A Kiss in The Dreamhouse, looked. That album utilises a lot of dissonant and ominous phrases, which gives the music its signature gothic quality. For our purposes, that eeriness gives a somewhat warped perspective of revisiting old rock and roll like this. Coke in The 70s is not at all a ‘rock n’ roll’ revival tribute act, instead it’s more as if you’re watching ‘rock n’ roll’ dressed up for Halloween. That haunting aesthetic is something that Siouxsie & The Banshees did very well in their first three major albums and is something that gave plenty of ammunition for composing parts for this, especially from the bridge and sections afterwards.

With respect to Metallica, they were one of those bands that continued that Queen/Led Zeppelin, legacy rock motif of having real intense headbanger moments followed by very soft and gentle sections but with the added intensity of metal as an emerging genre. The influence is one more structurally rather than sonically. We also wanted each part to have a very distinct character, so that wherever you drop in on the song, it’s always a different part, like a film or novel which are linear stories. There’s also this notion that if you were to map out the tonal intensity of the song, you’d notice that each intense section is followed by a more delicate section, however each time we transition between them, they become more exaggerated, with the most fierce section at the end being followed by the most gentle section to close the song.

 The above definitely presents the methodology as somewhat deliberate and technical but the reality was that a lot of this song’s evolution was gradual and natural. We compose very much with each other in mind and when we set out to evolve the composition and arrangement of a song, the discussion is very much ‘how do we achieve this feeling/sense of movement?’ rather than what notes are being played. We find that helps preserve an element of spontaneity in the composition process without becoming too sprawling or detached.

You've performed at venues like The George Tavern and The Windmill Brixton. What's the band's favourite memory from a live show or a favourite venue you've played at?

Courtney: Rats-Tails have had many highlight moments I can chat about forever and ever. We recently headlined The Old Blue Last, the crowd was adorable and there were couples dancing to our songs. When I began singing ‘To Saturn’, out of the corner of my eye I see Sam crouched down like a goblin, eating M&Ms out of his trouser pocket. I couldn’t stop laughing, the audience found it pretty funny too. 

Sam: Yeah, I’d say eating M&Ms is a pretty great memory, so I can’t fault that. We recently played a gig supporting Cotoba, a South Korean math-rock band doing their first UK/Europe tour. Every band was so excellent and strange and cathartic in their own way - Upset Stomach and Breakfast With Bears were insanely fun support and Cotoba were just immaculate. Lots of love felt that night and easily a moment where I’m in disbelief it wasn’t an experience I had to actually pay for.

Frankie D: I’d agree with Sam, I’m relatively new to the band but the show we played recently at the New Cross Inn supporting Cotoba is my favourite we’ve played so far, but I wouldn’t be surprised if one of our upcoming October or November shows beats it.

Pitt: I love the George Tavern; the people there are lovely and welcoming. It always feels like a second home. The sound is incredible and the vibes are immaculate.  

Chris: A very big shout-out I’d like to give for this section would be a very early night in the band’s existence when Courtney and I played as a duo at The Windmill for our friend Pink Eye Club’s Sunday Roast session. Pink Eye Club really does a great job of championing and bringing new people to the front, so I just have to say thanks for taking a chance on us as a new band finding our feet.

Your band's name, Rats-Tails, is quite unique. Could you share the story behind the name?

Courtney: When I was around 6 years old, a family member started calling me “Rat Tails”. Something about the nickname stuck with me. As a Teen, I remember thinking how “Rat Tails” would make a cool band name. Fast forward to the year 2020, Chris and I start a band. Finding a band name is usually a difficult task, but for us It was a no-brainer. The name, Rat Tails, has been following me forever so we tweaked it to “Rats-Tails”.

I love it when people come up to me saying “Hey you’re Rats-Tails!”. It’s very endearing to be called an old childhood nickname by people that enjoy our music. Feels like lil 6 year old me is being recognised as well as me today. A ~healing inner child~ moment, I guess.

In 'Coke in the 70s' you mentioned turning a negative experience into something positive through music. How important is music as a form of catharsis and expression for Rats-Tails?

Courtney: Songwriting for me is a great tool to gain perspective, express my philosophies and wrap them in a silky red ribbon. As mentioned earlier, ‘Coke in the 70s’ backstory is pretty negative, however it’s presented as an epic anthem with a glamorous music video. I love playing ‘Coke in the 70s’ live with the boys, it’s so moody and we get to express anger in a fun way.  

Sam: Yeah, playing live ultimately does work as catharsis regardless of context, but the “It came in fours” line from ‘Coke In The 70s’ ended up resonating with me a lot as well this year. Had three massive negative things impact my life, and out of nowhere a fourth hit. It’s been on the up now, but I think if I didn’t hear the line so often whilst gigging I’d consider myself doomed. Limerence, the first song we have all written together as a five piece band, has a few highs and lows that always feel emotionally satisfying to play. Music is art, after all, so it’s hard to not feel a sense of power, fear, love or anger within it. Even those grey spots in between that can’t really be expressed can be expressed listening to a song.

Courtney: My songs are manifestos, which I welcome to others to engage with or reject. When I’m faced with certain situations, I can reference my own songs in times of trouble or happiness. Recently, I had a Eureka moment whilst listening to Nicos cover of These Days: “Now, if I seem to be afraid to live the life that I have made in song”. That lyric perfectly captures my purpose as a songwriter. I am sticking by my words, singing them and living the life that I have made in song. 

As a London-based band, how has the city's music scene influenced your musical journey, and are there any local artists or venues you'd like to give a shout-out to that have had an impact on your music?

Sam: The London scene is so cool! I’m from Nottingham originally and moved here for uni 6 years ago, so to be swept up in it all is definitely a blessing due to the diversity and experimentation here. The George Tavern and Windmill are a godsend, along with The Ivy House. So many cool things going on - but to save repeating bigger names (Black Midi, Black Country New Road, Caroline), I love Ava, Kissing Gate, Tapir! and The Last Whole Earth Catalog. Excellent songwriting and sound from each.

Frankie D: The London scene is amazing right now, the artists Sam mentioned are all favourites of mine too, on top of that I would add Jaffro, Aga Ujma, Broadside Hacks, and Martha Skye Murphy as other artist/projects that I find musically inspiring. It feels like folk and experimental pop are really living a golden period, but there’s also plenty of interesting rock bands out there.

Chris: The beauty of London is that you can be yourself first and audiences are always receptive to hearing something new. There’s not this echo chamber of everything having to fit a scene or neat little package and that’s very liberating creatively. I’ll give shoutouts to Upset Stomach who we had the honour of playing with recently, also Tamesis, Pushpin and Avice Caro.

Courtney: I absolutely adore the London Music Scene and think we are unbelievably lucky to be a part of it. There are so many kind, generous and talented people who just wanna hear new music and support you in any way they can. You have music journalists like Elvis Thirwell, Mr Dave, Lloyd Bolton. Music fanatics such as 🤘🏻Bruno🤘🏻 and The Gig Slut. And I can’t not mention the scenes incredible Photographers: AphShootsBands, Baxter Adams, Magss Ochalek, Lou Smith. I can go on. Musicians from the London Music Scene that I’ve enjoyed watching live are: SULK, Bishopskin, Baba Ali, WOOZE, Pink Eye Club, Tummyache, A Void, Cosmorat and Velvetine. I am very susceptible to falling in love with any band I see live.

Pitt: The scene has been very welcoming. I moved to London for uni and had no idea about gigging so I started by playing some terrible shows. Eventually I played at the George Tavern somehow and, through that, started meeting more people, got more involved with different projects and formed the connections that I have now.

What do you love right now?

Sam: Lots to love. Been really into Lomelda, Skullcrusher and Pinegrove’s first album. Been travelling around a lot and fortunate to spend time with friends. Been seeing some amazing films (Scrapper, Past Lives, Shame, Nashville). Been singing and playing folk songs on guitar. This year hasn’t been easy, but I’m feeling good at the moment.

Courtney: I love Oat Matcha Lattes with honey. Meeting my Grandma for lunch. My cat's grey fur turning brown with age. Hastings Old Town. The book I Who Have Never Known Men by Jacqueline Hartman. And Ethiopiques, Vol.4.

Frankie D: Making burritos, jamming with bandmates, going on wikipedia sprees, Catford Memes, self-recording in my bedroom. Plus I recently watched The Fall, what a dark show. 

Chris: I’ve been loving the discography of Ryuchi Sakamoto, the album Becoming X by Sneaker Pimps, the new Chainsaw Man arc, and cooking with Scotch bonnets.

Pitt: I love smurf cat.

What do you hate right now?

Sam: AI art.

Courtney: When people use an iPad to take photos.

Frankie D: Rishi Sunak’s transphobic comments.

Chris: Food price inflation.

Pitt: The Clarinet

What's in store for Rats-Tails in the near future? Any plans for tours, new releases, or collaborations that fans should be excited about?

Courtney: We have just finished recording ‘Flowers’ and ‘Limerence’ with producer Shuta Shinoda (Ghostpoet, Hot Chip, Daughter, Spiritualised) at Hackney Road Studios. Shuta sent us the Monitor bounce of ‘Limerence’ and I’m unbelievably proud of us rodents. Alongside these two big tracks, we plan on recording and releasing our debut EP. There’s a lot to be excited about.