We spoke with Kodak Kid about “Junk” and more!

Hi! “Junk” has such a laid-back but bittersweet energy. Do you remember the first spark of the idea for it? Where were you when it clicked?

A: I was actually dipping in a cold plunge pool in an underground Turkish bath Budapest with a bunch of musicians. We were all talking about breakups and the Israel/Palestine situation, getting pretty heavy. These conversations were really raw and when I hit the cold plunge, all the endorphins hit me and a bass line came into my head. I had to run and find the lockers before I forgot it, but then I realised I couldn’t read Hungarian so well. I finally got it onto my phone voice memos surrounded by a lot of confused naked people.

The track feels like it’s made for dancing, but also for zoning out. When you were making it, were you imagining a party, or more of a headphone-on-the-bus moment?

A: The image I have in my head is a song that an introvert could have a moment with if it was blasting at a block party. It sounds good with a big joint in the summer. Also, it works well on headphones. Zoning out for sure.

You’ve got Boo Kickz on this one. How did that link-up happen, and what made you think their vibe was the right fit?

A: Well when I was looking to change the live band around a bit, Amelia was recommended. Once we vibed a bit, I just asked if she wanted to add some backing vocals in a call and response style. Her style and influences have a lot of parallels with mine.

Your baritone voice really stands out in the mix. Do you write with your voice in mind first, or does it just shape itself once you start recording?

A: I always try to start with the vocal melody first but usually it starts with something rhythmic. It all comes at the same time usually. I like the fact that my voice is baritone so I don’t try to be anything else. I’m trying to contort my voice more now but I stay within my range still.

There are a lot of little textures in the production. Were there any happy accidents in the studio that ended up making the final cut?

A: Well the fun bits happened when I sent the song to Dilip Harris to be mixed. I love all the production he’s done for Shabaka and King Krule amongst others. I told him, for example to add a bit of harmonic distortion to this 808 cowbell on the track and it ended up like this mad stoned dubby noise that I’d never heard anywhere before! I’m unconventional in my approach and Dilip gets the assignment.

The track feels both heavy and light at the same time. How do you usually balance writing about darker feelings with keeping the music fun to listen to?

A: I think sometimes you need to know how and when to be subtle or completely on the nose. To be melancholy you’ve got to strike that balance of happy and sad tonally. So if you have a song that’s a bouncy summery track but you add some heartbreaking lyrics and the occasional bridge where it gets dramatic then you’ve got a good balance going.

If “Junk” were a scene in a film, what kind of scene would it soundtrack?

A: It would be a a surreal film about mundane details in life. It would probably work as an intro.

You’ve drawn from a mix of genres in your music. What’s one influence that might surprise people who listen to your stuff?

A: I’m a huge Ennio Morricone fan. His soundtrack output was always strange and interesting. He created these singular soundscapes that I always keep going back to. They’re so evocative. I don’t know exactly how it seeps into my music to be honest but I’m sure it does on every song no matter how small probably.

You’ve been performing across the UK. How does a song like “Junk” change when you take it from the studio to a live setting?

A: I choose which parts I let the live band members have creative license over. For Junk, I keep play everything straight as far as the original goes but whoever’s on the flute, they can just get it in and go postal on it!

And looking past this release, what’s next for you for the rest of this year?

A: I’m working on an E.P. which will be more like a mini album. I’m super excited about it because it’s my best work yet and it really hits the listener hard with what the world of Kodak Kid really is. I don’t want to be subtle at all! I’ll be working hard into early next year and it’ll be coming out in May. That date is set, bet!