Fudge.

Although only half the band are bald (by choice I must add), it served as useful alliteration to introduce an ambitious bunch of lads who love their Buckfast and have, undoubtedly, pronounced their place in the independent music scene. Kid Kapichi (KK) describe themselves as "Haunted House Alt Rock" which quite simply means, particularly with their two recent singles "Thugs" and "Sardines", you should expect no less than purposively phat riffs and unrestrainedly indignant lyrics; and yes the 'PH' is important in that description. Taking influence from Indie Rock of the noughties, Jack (Guitar and Vocals), Ben (Guitar and Vocals), George (Drums) and Eddie (Bass) have nurtured a formidable sound throughout the 6+ years they have been together, and the tell of time is evident in how naturally they coalesce both on and off stage. In this interview, KK unearth some of the inspiring, yet often brutal truths of a life lived as an independent artist in the 21st century. 

The band undoubtedly have the fundamentals in place, these being great songs, great recordings and a killer live show. With regards to their writing process, Ben explains they have very much a "four pronged attack", yet the way their songs come about "is slightly different each time". Jack details that some of their most listened to tracks came together in a day or less. So, often there is no formula to writing great songs, instead composition can be a rather intermittently lucid process where ideas come from seemingly modest beginnings. Writing great music and refining your sound requires an unrelenting hunger for amelioration; as Ben put it, "you've always got think "right, how can we be pushing this? How can we be developing this? Who are we from month to month?"". That a feeling of content isn't a good point to be at with your music. KK also accredit this same uncompromising attitude to prosperity in music business. 

The band surmised that the one true measure of how well you're doing is by how many people buy tickets to your show, "and if you perform live well, it's going to help that more than anything else". Yet, as Ben pointed out, "some people really don't take it seriously". Eddie added that solidity of a live performance often reflects well in recorded music, but stressed how a great record should never be tarnished by a half-arsed live show. Essentially, you need both "and then that's your invitation to the party. Only then do you qualify for the race." (Ben). 

However, for independent musicians, having great recordings is easier said than done. Money being the inescapable component here. Finance is a strain, not just for its limitations in funding a quality recording, but for the amount of time you can reserve for the entire recording/mixing process. George explains, "It's being away from that process [Mixing] that's the downfall..." "When you've got your own studio you can spend ages refining the bits you want to". But paying for studio time means you can only do things to the best of your ability with the time available. With this said, Ben pursues "that often your limitations can push you into other grounds and teach you a lot more". Artists need to be smart with their investment of time and money; which jobs can be done for free and which need to be outsourced to a paid professional? Like KK, building a team beyond immediate band members is a solution for easing financial strains. To quote Ben: "Each member of our team is in the mind of - "I understand the project and love this enough to do it for a bit less money." And you can't buy that". This is where networking within your community comes into play in procuring the devoted investment of like-minded, independent industry professionals who are also climbing the ladder. In the mean time, throwing yourself into every task you are faced with means that when it comes to directing a team: "1. You know if they're doing their job correctly and 2. You have such a greater level of relief and respect for what they're doing and how that alleviates the pressure on everyone." (Ben).

We discussed the changing state of angry rock music over the years; they point out that writing angry political music isn't a conscious business decision, instead it's a reaction to genuinely being angry. Artistic authenticity is a direct byproduct of genuine intent when writing music, "people who write good music - it comes from the fucking heart..." "you can tell a mile off if it isn't genuine" (Jack). The same can be said for all professionals throughout the industry, it's about finding those networks and relationships to build a team of people who genuinely care about the artists and music. And if there's ever a weak link in the team "you'll be very aware of it, very quickly"(Jack), because ultimately "you're only as good as your weakest player" (Eddie). 

The KK boys believe in truly enjoying the music and the process, and that, although "10 out of the 12 months is hard work, the two months of reward makes it so fucking worth it." (Jack). That ultimately you do this because you love it and it means "you don't have to work in a fucking office" (Ben). 

Written by Angus Bates (Cover image copyright: Kid Kapichi. Captured by Anabasis Media.)