We sat down with Billy, Vera, and Emmie May to talk about the writing process behind their debut album, Cannonball, working with avant-garde production royalty, and why they’re embracing the "in your face" energy of their new sound.
You’ve just announced some massive news: your debut album, Cannonball. How does it feel to have that out in the open finally?
It feels pretty good! It’s exciting to finally have it out there and see what people think and how it goes down.
One of the most exciting things about this record is that three of you share lead vocal duties across the tracks. How does that dynamic work when you're sitting down to write?
It varies. A lot of the time, it’s whoever has a song, but because we had a clear goal and some time pressure, it forced us to put more effort into bringing our own material to the table. We tried to be very democratic once a song is in the room, we make it ours as a collective before it sees the world. Regarding the vocals, it’s not strict. Usually, the person who writes the lyrics ends up singing it, but we experiment. For a song like "Nosedive," the lyrics were a group effort, and because of the vibe, we decided a unison vocal fit the genre best. We view the vocals as an arrangement thing later in the process.
Speaking of "Nosedive," it’s an incredible, sprawling track. What was the process like for that one?
It was funny! We were rushing to write songs for the album, so we literally picked names out of a hat to split into groups for two weeks. One group (us three) worked on an old demo of mine, and the others were in another room. When we came back together, they’d written something at the same tempo, which weirdly worked perfectly as a dance track. We meshed them, added percussion like hitting pint glasses with drumsticks, and it just became a thing. We were dancing while we wrote it as it should be!
There’s a beautiful metaphor of an "injured bird" wanting comfort and freedom at the same time in that track. Can you tell us a bit about the emotional side of that?
That was born out of a breakup. It was a mix of that classic post breakup feeling of not knowing how you feel about someone, and a childhood memory of finding a cobweb (or a bird) that needed looking after. I realized I could merge those two images to create a double meaning.
You worked with Seth Evans and Margo Broom to produce the record. What was the dynamic like in the studio with them?
It was a pleasure. They have this funny, complementary dynamic, almost like a "good cop bad cop" situation, though it shifted depending on the band they were working with! Margo brought so much experience and wisdom, and Seth was great with the "nitty gritty." Seth took the lead on a lot of our vocal recording. He was so patient, especially when I brought in messy demo recordings from my laptop… he just encouraged me to "do my thing." And Margo was fantastic with guitars; she taught us to stop just looking for a "cool" sound and start looking for a "right" sound, thinking about how specific tones mesh together.
The production is incredibly detailed. Did you get into any weird experimental techniques?
Very much so. We had plenty of feedback bits, messy take delays, and synth work. We even used a Mellotron… though I won't tell you on which song, people will have to listen closely! Despite that, we actually recorded it in a surprisingly straightforward, precise way. We wanted clarity. We recorded through tape and analog machines, but mixed it with digital signal, a hybrid approach to get that warmth and detail while keeping the flexibility to do overdubs.
You all started this band when you were incredibly young. How has the chemistry changed now that you're navigating your twenties together?
We’re wearier, though unfortunately not much wiser! Who needs wisdom, anyway? [Laughs] The dynamic has shifted, but we’ve learned a lot about working as a band. Our friendships have evolved, but the three of us remain at the core. We’re just staying in our pocket and keeping on keeping on.
You have a massive tour coming up, wrapping up at the legendary Electric Ballroom. What does playing a hometown venue of that scale mean to you?
Oh, I’m super excited. It’s one of my favorite venues in London personally, I think it has the best sound. I saw a show there the night before our debut came out, and it’s just such an iconic spot. It’s going to be really cool.
Final question… what’s next for the band?
Just keeping on, you know? We don’t have a specific five year plan. Maybe we should, but for now, we just have to make three albums!
Order Cannonball here!
Band instagram: @manwomanchainsaw
