Australian Duo VOWWS Remake Its ‘Structure Of Love’ Featuring Deftones’ Chino Moreno: Exclusive


Contrary to what one may anticipate, given its electro-rock instrumentation, the members of VOWWS are not followers of remixes. Frontwoman-keyboardist-programmer Rizz can barely include her disgust when she talks in regards to the idea.

“It simply appears drained to me,” she says, recent off a dwell efficiency and sound-design set at clothier Rei Kawakubo’s Comme des Garçons Homme present in Paris on Jan. 18 for the French capital’s version of Fashion Week. Rizz speaks with a sharp-tongued candor that by some means lands as extra amiable than caustic. “Why would you are taking a wonderfully good tune and wreck it and put a doof-doof beat to it simply so a bunch of clubgoers can dance to it? Dance to one thing else. Dance to fuckin’ Diplo or one thing.”

In case Rizz’s emphasis doesn’t make it clear sufficient, the Australian duo rebuilt its new monitor “Structure of Love II” solely from scratch. The authentic model, which seems on VOWWS’ sophomore full-length, 2018’s Under the World, is redolent with exactly the type of moodiness one would anticipate to attraction to Deftones singer Chino Moreno, a toddler of the ’80s who fell in love with goth/new wave acts like The Cure and Depeche Mode at a formative age.

But Rizz and her bandmate, guitarist-programmer Matt James, didn’t truly develop up listening to these bands, and describing VOWWS as goth is considerably unfair regardless of the sonic connections. Rizz and James had been nurtured on ’90s different. (Before that, Rizz was first drawn to music by a powerful compulsion to document music cues from TV reveals and even the jingles that performed on commercials, utilizing a tape recorder.) When the pair sits down to put in writing songs, it begins out not within the digital realm, however with acoustic guitar, keyboards and vocal melodies. Both Rizz and James insist that, though they’ve an apparent affinity for digital gear, the point of interest of their music consists of songs, in addition to the human component that drives them, nevertheless “damaged” (James’ description) the preparations find yourself.

No shock, then, that “Structure of Love II” unites two seemingly likeminded however distinct sensibilities. Of course, Rizz and James had been influenced by Moreno’s work with Deftones, so it follows that they in flip absorbed a few of his influences in methods they maybe weren’t even conscious of. Moreno actually feels like he’s in his pure component on the slower and dirgier but by some means extra delicate remake, the uptempo drumbeat of the unique changed by an ethereal digital pulse courtesy of producer/former Nine Inch Nails member Danny Lohner. Overall, the brand new model lands nearer to the witch home vibe of Moreno’s digital car Crosses and even basic trip-hop like Portishead and Massive Attack.

VOWWS, which at the moment are based mostly in Los Angeles, had been taken by full shock when, previous to their relocation to the States, Moreno tweeted a monitor from their self-titled 2013 debut EP — with out tagging them. That caught the eye of the band’s pals, who later alerted them when Moreno name-dropped VOWWS on Triple J, Australia’s nationwide radio community. When they listened to the printed, Rizz and James had been flabbergasted to find that Moreno truly had attended one among their gigs.

“At that time,” says Rizz, “we had been like, ‘Holy shit, we should always comply with this up.’ ”

In November 2018, Moreno handpicked the act to seem on the Dia de los Deftones competition in San Diego. With “Structure of Love II,” he turns into the third distinguished visitor vocalist to grace a VOWWS monitor, following within the footsteps of synth-pop legend Gary Numan and King Woman/Miserable vocalist Kristina Esfandiari.

“Obviously,” says James, “we’ve obtained very restricted sources, however we’ve obtained the liberty to have the ability to do issues like launch an album after which revisit the songs and see how one can stretch a tune to suit totally different personalities. If we had been on a label, they’d have a template to the way you do issues. And as soon as we obtained folks like Kristina and Chino concerned, it’d be like ‘Now we’ve obtained to delay the fucking album,’ and that may very well be a momentum killer. At least this manner, we get to proceed to foist ourselves on the world in any disjointed method that we will. But there’s a magnificence to that. In the identical method that imperfections in music can provide it life, experimentation when it comes to how you place music on the market [can be the same way].”

Listen to “Structure of Love II” beneath.