The Eighth Note is 8 quick Questions with Wellington Musicians. A chance for us to catch up with people & see what they’re up to, or introduce you to a new musician/band and their music, and New Album is where a band or artist answers some questions about their latest release. Up next is Patrick Wightman, who records under the moniker Blacq Forest Audio.
Who are you? Tell us a bit about your music:
My name is Patrick Wightman, and this is my band Blacq Forest Audio. It is a digital-punk band, using electronic programming, D’n’B/industrial drums, and punky-guitars to make a mutant type of sound for the 2020’s. Blacq Forest Audio combines the abrasiveness of industrial music with the energy of a live punk band. It started back when I was living alone in South Otago after a few years of trying and failing to start bands, so I decided to make a band using one person (although I do now use a DJ when playing live), and it’s kind of never stopped. Harsh noise used in a melodic way is the main focus.
Lyrically, a lot of the songs focus on body politics, the feeling of failure that is really resonant (especially in a post-covid, climate change riddled world), and being hot. Damn hot. The live shows are intricate to the band. They are industrial dance parties, where you move to the groove in however you want. I kind of imagine them as basterdised techno shows except for rock bands. There is no swaying at my shows! The gigs are always themed and always have a unique touch to them. I let people draw all over me prior to the gig or have a phrased written on my body as another form of communication between the audience and the band. I have specific outfits themed to writing on my body.
What have you been working on lately? Any new tracks or albums on the way?
The new album, ‘Soak in Digital Oil’ was released on the 28th of April!
Where is the best place people can follow you & find your music?
Instagram, Facebook, Spotify, Bandcamp, and Soundcloud. All under the Blacq Forest Audio handle. Please send me weird stuff.
What were the 3 most influential albums to you growing up?
Exit International – Black Junk
Massive Attack – Mezzanine
New Order – Get Ready
Which other Wellington musician (s) would you most like to work with?
Shihad or any member of the All Seeing Hand. I’d love to contribute a sound or a texture to a song of one of those fellas. On a more likely collaboration, definitely The Pink Frosts. I love those boys! Their new album is premium!
What’s your favourite Wellington venue to play in?
Defiantly Moon, the sound guys there are always the bomb and the staff are great! Also, house parties, any flat show is so much fun and the mosh pits are great.
In your songwriting or composing (or the band’s songwriting) how do the compositions and songs take shape?
I won’t give away too many secrets, but I start with a bass or a texture. My biggest fear is making something which is by the numbers or boring, so I always try to have an interesting basis to take off from.
Where/when is your next gig?
I’ll be playing a gig in Auckland with The Pink Frosts on 8th June at The Darkroom, and the next Wellington show is at Meow on June 15th.
When/where was the new album recorded?
So many places! Some of the vocals were recorded in Milton. All of the tracks were recorded/produced in my various flats throughout Wellington. Vocals were recorded at my producer’s house, UE, and all the tracks apart from “Cry When You Dance and Pretend it’s Sweat” and “Doomed User” were mixed at his studio. “Down Vampire Grove” and “Swimming in the Quay” were both recorded, mixed and mastered at Sandbox Studios with Peter Molteno working with me.
Who produced/engineered the album? How did the tracks come together in the studio, or at home?
I used a lot of different producers for different textures and sounds for individual songs. You serve the songs, it’s never the other way round. “Cry When You dance and pretend its sweat” was a tune that I wanted a big sound for, a big statement for the opening of the record, so I hooked up with this really amazing DJ and producer, Keanu Raves. I brought the rough tracks in, but he pumped up the sound when I was down in Christchurch and made it the song that it currently is. “Down Vampire Grove” and “Swimming in the Quay” were done with Peter Molteno of Sandbox Studios. We spent the weekend working on those tracks and really ironing out the structures into what it is now. “Doomed User” was a track I wanted to mix and finish myself.
I wanted to really have a gnarled, dejected sound to the production. UE produced the rest of the tracks. We had a blast putting together the tunes, recording the vocals, etc., and he really put a good sheen on all of the tracks that he did. He specialises in melodic trap so some of the songs were a little outside of his wheelhouse which was perfect. I remember recording “BPD Semantics” and laughing the entire way through doing that one. All of the tracks were composed by me. All of the sounds were put together by me. Tracks come together at home and make sure I’m prepared as hell so that we can get in, record the song, and get out as fast as possible.
How did the songwriting happen? Are there any overall themes within the songs/album?
It’s a concept album about a cowboy going out to desert and having a mild epiphany about his life, coming back to the city, and stealing a police boat. I wrote a short story in high school about it and the general themes of the album fit it well, soooooo I ran with it! I’m hoping it doesn’t come across to pretentious, it’s just nice when you hear an album that takes you on a journey over 29 minutes. The composing for the album started with a song called ‘Me and My Microphone’, and everything else fell into place after that. I was writing around the idea of me being able to perform everything on stage without having to think the song. Try to keep everything reasonably simple while I can go off and do audience interaction/dancing/making an idiot of myself.
I cut about 35 minutes’ worth of material as I thought it didn’t really hit, was too angry, or made no logical sense within the album’s narrative. I’ll release one day… The whole album is about failure, loss, and rediscovering yourself through that loss. It’s taken from the real world and then filtered through my twisted skull into the songs presented to you. “Don’t Fall too Far to Sleep” changed and twisted the most. Starting its life as a straight techno song, it morphed over the span of 13 months. It was originally quite a banal tune, so through chopping up the drums, adding black metal style screaming, and adding what I like to call the death drop outro, I changed it into the digital-punk anthem that it is now.
Were you going for a different sound/approach on this album?
Yes, I wanted to place my mark on the current Post-Industrial movement happening in the northern hemisphere. Taking Genuis level artists like Sophie and HEALTH, and forming them into my own mutant, pop-formula-like song structures with the plan. The goal sonically with this album was to make abrasive music catchy, so catchy you couldn’t not check it out. It’s walking the knife edge of making people uncomfortable, but in a nice warm woollen jersey.
Was there any specific gear you used to capture that?
Found sounds are my favourite tool. Twisting everyday sounds in melodic lines that melt your face using the powers of software is wonderful. Plus, a Blue Yeti Microphone and a cherry red Epiphone Dot I bought in Kreuzberg.
Is there a particular single/track that you feel captures the essence of the album?
‘Down Vampire Grove’ is the core of what I’m doing. It really captures lyrically what I’ve always wanted to say, while also making something which is hook and sub-bass laden.
Is there a physical copy available? If not which digital platforms is it available on?
I wish there was, but as an independent artist I can only afford digital releases. Available across Bandcamp and all streaming services.
Are you working on a video/videos for any of the songs? Are you doing any gigs or promotion for its release?
Yes! There are videos for “Down Vampire Grove”, “Swimming in the Quay” and “Me & My Microphone”. There is also a new video coming for “Holy Fuck I’m Hot” made by my wonderful friend, and video editor extraordinaire, Cassie. This video I spent 3 months making. The basic description is of me dancing in a fur coat and rugby shorts in front of a giant paper mâché sculpture of my own head behind a cyberpunk like digital chaotic background. It really is amazing what she’s done with the material!