“Kurt Cobain, obviously, but I’d like to mention Kat Bjellend from Babes In Toyland, too. Tell us about a guitarist who inspires you… I mix it up between the Swollen Pickle by Way Huge and the Boss DS-1 on tour with my band, though lately after upgrading to my Fender Twin amp I tend to just use the clean and drive channels.” “Over the years I’ve had a Squier VM Jazzmaster, a Fender HH Mexican Jazzmaster, a Squier VM Mustang… Now I mainly use my relic’d American Stratocaster with a Suhr humbucker in the bridge and two Fender Texas Special single coils. In my studio set up right now I have the Positive Grid Bias FX 2 guitar preset which I use for heavier tracks, but mainly I use the standard Logic presets and tweak the crap outta them!” Tell us about your main guitar and pedal set up… The Boss DS-1 was the first I owned because of Kurt, then the Way Huge Swollen Pickle and of course Sean’s favourite, the Electro Harmonix Big-Muff. Meeting Sean, the guitarist of my band, really made me fall in love with fuzzy guitar pedals even more. I loved the chaos of their guitar tones, the offsets and Big Muff pedals. “My teenage years were Nirvana and Hole, Babes In Toyland and Mudhoney the grungier the better. What influenced the fuzzed out tones on the record? I hope to work with the right producers eventually, I wouldn’t rule that out, I just need to prove to myself and the many people that have doubted me throughout the years.” Naturally, I had no intentions of involving a producer when I created Delilah, it was my chance to really see what I could achieve without them. Producers tend to use a lot of auto-tune and reverb, aiming for that perfect, smooth vocal and it’s always a battle having to fight for any creative input. I’ve had to push for a lot in the studio, particularly with effects and how I like to hear my vocals. Many times, producers have found my input to be annoying. What was the experience of self-producing the entire album like? The sound I make is a mesh of all my influences old-school Salt N Pepa girl gang vocals, fuzzy nu-metal guitars with occasional metal-style scream vocals, Rico Nasty style snarl and Eminem sarcasm.” Producing as I’m writing means I can layer many different instruments to create unique sounds for each song which sets it apart from recording as a band. Sometimes it starts with a topic, or a music video idea, then I hum a riff and pick up my short-scale Fender bass to bring it all to life. It’s really transformed my writing style, being able to visualise the track before I even write it. “Every idea of my Delilah songs start as hummed basslines or hooks into my phone before I even pick up an instrument. How does your song writing differ as Delilah Bon from Hands Off Gretel? I realised quickly she could be that for other people too, she’s like a big sister to so many girls and non-binary kids now.” Delilah’s songs started off to empower myself when I felt small. I had so much I wanted to say but I was hitting a wall creatively, I guess that’s why I started rapping last year, I had so many words and this allowed me to get them all in. “A man started shouting ‘hashtag me too’ at me on stage as I tried to sing, and I saw girls getting shoved to the back. READ MORE: Meet Dan Cousart: The Philadelphia upstart with a penchant for partscasters and psychedelia.I was riddled with anxiety then, playing shows.” I wrote about my own experiences online, how I was having to deal with men trying to kiss and touch me off stage, only to be met with resistance from people saying I was asking for it because of how I chose to dress. I was touring with my band when I spoke out about women’s safety at shows. “ Delilah was created last year completely by accident. Who is Delilah Bon and why did you feel the urge to bring her to life?
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