Apr
26
9.41am

DC WOLVES // Dan Cahill On ‘Predator’, Collaboration And More

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Five years after their inception, US rockers DC Wolves has dropped their second LP, Predator.

MORE: NORTHLANE: From the lyrics to the avant-garde inclusion of trance and DNB elements, Obsidian truly showcases a new era for Northlane. REVIEWS: KORN: Requiem // GHOST: Impera // PUP: The Unraveling Of PUPTheBand // CANCER BATS: Psychic Jailbreak // OCEAN GROVE: Up In The Air Forever // DC WOLVES: Predator

And as the brains behind the project, songwriter and multi-instrumentalist Dan Cahill, explains, it was a cathartic experience. Aside from being a celebration of rock and roll, the record was also an outlet to explore all the challenging feelings the pandemic threw his way.

We were lucky enough to chat with Cahill, who gave us some insight into this, how the record came together and more.



Hysteria: How’d DC Wolves get started?

Dan: DC Wolves started as an outlet for ideas that didn’t quite fit my other projects at the time. At first, it was just a couple of riffs. And then suddenly, I’d have an idea for a bass line, so I’d lay that down. And before you knew it, I’d have the bones of a song. I really began to throw myself into the project in 2017, when my other projects started to grow apart. People change and move on to new things; it’s natural. But my passion is and always has been music. I decided to use that fire to push myself into something new. I realised that if I wrote and played everything for this new project, the only obstacle would be my own motivation to push through to the end. Eventually, that effort became the first album, You’ve Been Careless.

Congratulations on the release of Predator. Tell us about some of the experiences or ideas that shaped it. 

Thank you! The pandemic has affected everyone in different ways, and it could get really difficult to deal with the feelings of isolation or helplessness. I think much of the drive to make Predator was one of survival. My own experience with the pandemic was a very gradual decline into depression. I was not handling it well, realising how much I had taken for granted being able to connect with people. I couldn’t play out. I couldn’t grab a drink with friends, and so on. I had to find a way to focus on something or risk falling apart. My story is not unique, but many still feel their pain has gone unseen. I want everyone to know it’s okay to have felt that way.

From an artist’s perspective, I had to come to the realisation that risk is part of the game, and it does not always work. But it does teach you something new.
[ DC Wolves ]

What do you feel your last few records taught you that helped shape Predator?

I am so proud of what I have been able to accomplish so far on this journey. From an artist’s perspective, I had to come to the realisation that risk is part of the game, and it does not always work. But it does teach you something new. On the first record, I took a big risk in working with a drummer I had never met. It really isn’t easy trying to describe drum parts over email! One of my notes said: “The fill sounds a bit off. Maybe one of the hits is weak; it’s hard to tell.” I imagine the guy reading that and being totally confused – what does that even mean? I also got a crash course in all of the work that goes into an album beyond the music. Release strategy, artwork, promo photos, legal stuff. I really relied on the help of other band members for that in the past. I had pulled off the training wheels without knowing it.

We read you really enjoyed collaborating on this record. Tell us about that experience and some standout moments. 

An important lesson for anyone is you’re only as good as the company you keep. I made it my mission to find a great engineer and a great drummer to really elevate what I wanted to do. I knew Justin Pizzoferrato (Elder, Pixies, Dinosaur Jr.) was the guy as soon as I got to his studio. As we started combing through the demos, he was already asking me about tones and vibes and ideas to punch up parts. In fact, he was the one who pushed me to try vocal harmonies. I had never done that before, but I’m really glad we went there. And then Colby Blauvelt (Future Teens) came through at Justin’s recommendation. I was on board when he showed up in a GlassJaw hoodie. He nailed the whole album in a day and a half and even came up with his own ideas to try. My original vision for the bridge section of Learn to Fly was completely different. Fresh ears and new ideas really made that track something special.

What else is in store for this year?

Coinciding with the release, I’ve pulled together a great band, and we’ve got a handful of shows lined up already. It’s been an amazing feeling to be back out in front of people. We will also be making an attempt at doing some filmed sets this summer so we can get some live stuff out there. I’m really amped up about it all. I’ve got another album’s worth of demos already!

Anything before we let you head off?

Thank you so much for the opportunity to connect with you and your readers! With music, you really can connect with anyone, anywhere. I hope to have the opportunity to play in Australia soon.

Purchase and stream here.


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