Artist Interview: Dylan Wilson
From the raw energy of punk to the atmospheric depth of goth and the sprawling sonic landscapes of the psychedelic, Dylan Wilson and his band are carving out a distinct space in the modern rock 'n' roll scene. Describing their work as "gothic rock 'n' roll," this Edinburgh-based group — featuring Dylan Wilson on vocals and guitar, Sean Casey on drums, and Sorrel Harland on bass — is quickly building a reputation for their cryptic lyricism, spontaneous live-recorded ethos, and commitment to genuine, unpolished rock 'n' roll.
We caught up with Dylan Wilson to delve into the "chaos" of his sound, the influences of literary masters like David Lynch, and what it takes to be a rock 'n' roll band in the modern age.
Tori: Your music is described as fusing elements of goth, punk, and the psychedelic. How do you balance and blend these disparate genres to create your unique sound?
D.W.: Well, we started as a punk band so we have punk songs but we were only really together for about 15 minutes before we became a post-punk band and started introducing gothic elements. Goth was a really natural next step because of how limiting punk can be (no fancy chords, no songs over two minutes, etc.). It allowed us to deepen our influences from the likes of The Cure and Joy Division, and opened doors to explore non-musical influences like literature and movies. The psychedelic influence came from our long, hazy jams. Inspired by the likes of Neil Young and Jimi Hendrix. As well, Jim Morrison has always been a major lyrical influence on me.
Tori: Can you share a story about a secret gig or surprise release that exemplifies your mysterious punk persona?
D.W: Sure so the secret gig that like “made us” was at Bannerman's in Edinburgh in January this year. We drummed up attention by asking my Instagram followers if they wanted to know a secret, and anyone who said yes was let in on the scheme via promotional material on my close friends.
We revealed the gig as it was happening. Just live videos taken on my phone and uploaded to my story, taken and posted while we were on stage. The response was amazing. Heaps of people tuned in for the surprise content and we got a bunch of likes from our supporters.
I say this “made us” because before this gig we kinda just said we were mysterious. This show legitimised that. It proved that we were a group you had to keep your eye on and to expect the unexpected around. We set out to show that we really did have something up our sleeve, and people took notice. The ball’s been rolling ever since.
Tori: 'The Camera Girl's Genius' was inspired by trying to combine The Rolling Stones' 'Paint It, Black' and Nirvana's 'About A Girl'. What drew you to mash up those two specific songs and sounds?
D.W.: I really liked the two chord refrain of ‘About A Girl’ and wanted to copy that. I also really liked the sound of Nirvana on Bleach as well. I felt the production really captured their live feel and energy. Like, we consider Nirvana now as this really historic rock band, but on Bleach you really get the feeling that these are just three guys playing instruments in a room. I love that.
As for Paint It Black, I’m not really sure. I just know that’s one of the most iconic guitar intros/arpeggios ever and I wanted in. Keith Richards turns one D-minor chord into one of the most recognisable riffs in human history. Stunning.
Tori: You dedicated 'The Camera Girl's Genius' to the memory of David Lynch. How has his work influenced your music or your artistic vision?
A big influence David Lynch had on me was to make my lyrics more cryptic. His famous refusal to elaborate on his work, keep audiences guessing, and force them to draw their own conclusions on his work really struck a chord with me. I try my best to apply his modus operandi to my songwriting..
Tori: The song was recorded live in only two takes at Banana Row Studios. Was this raw, immediate approach a conscious decision, or did things just naturally fall into place?
D.W: Yes it was a conscious decision and that’s actually a core part of our ethos as a band. We want to try and prove that, in the modern scene, there is still a place for a fast and loose rock ‘n’ roll band who record their music live, or as live as possible at least. We want to try and prove that a rock ‘n’ roll band is all you need to make a great record. Our producer, Sam Blott, was really sympathetic to our process and did a great job engineering and mixing the track to help bring our vision to life. The drums, bass, and guitar on Camera Girl are all live, the vocal is the only overdub.
Tori: Your band, featuring Sean Casey on drums and Sorrel Harland on bass, is a crucial part of your sound. How has having them changed the way you approach writing and performing your music?
D.W.: Sean and Sorrel put the definitive stamp on my sound. Sean’s drumming is the exact drumming I have always needed. It’s loud and hard hitting, flashy but never showy, robust and rock solid. Sean is every inch the punk rock drummer. Tre Cool is my main comparison for him, but he really reminds me of Charlie Watts. He’s just got that uncomplicated, laid back, natural feel to his drumming. Sorrel is like a musical twin flame to me. I feel like I’ve known them my whole life. We have incredibly similar music tastes, so speak a lot of the same language when it comes to creating. They can very easily pick up what I put down, and they’re amazing at coming up with sections that give our songs extra moments and edge. A great example is the stops during the first guitar solo on Camera Girl. That was all Sorrel and Sean.
Tori: You've played a number of charity and themed events, including The Joy Division Charity Festival to raise money for CALM and Queer As Punk. How important is it for you to connect your music and performances to social causes?
D.W: Really important. We really want to build a reputation as a band who stand up for what we believe in, so these gigs were foundational steps in achieving that goal. I’ve always believed that rock ‘n’ roll should be a force for good and a voice of the people. I believe that artists have a responsibility to use their platform to stand up for those who cannot stand up for themselves..
We were incredibly proud to be linked with such an amazing charity for The Joy Division Festival (and even prouder of our own Sorrel for organising the whole thing), and I’ve always been a huge admirer of Queer as Punk. As a bisexual man myself, playing Banshees the same day of Edinburgh Pride was like a dream for me. I felt honoured to be given that slot. It was like being told: “You’ve been chosen to represent this. Show them who we are.” I wanna fly that flag every day for the rest of my life.
Tori: Your first gig with Sean and Sorrel was on May 11, 2024, at Leith Depot. What was the atmosphere like at that very first performance?
Hot. Seriously, this was the hottest gig of all time.
D.W.: Let me explain, Leith Depot is a lovely venue but it’s tiny and, that day in May, the AC wasn’t working. The sound guy was really late, late enough that the gig nearly got cancelled, so everyone was hanging around for what felt like days. It was like being stuck in the fucking desert, man, seriously. We were all just floating around the venue, smoking so many joints outside because there was nothing else to do. We were fucking gone by the time it started. The opening band were playing and I seriously thought to myself “Man, it’s so hot in here, I feel like I’m gonna pass out.” I kinda ran that back over in my head, realised the severity of the situation, and stepped outside for some air.
The show was actually great though. Heaps of Sean’s friends turned up to see their pal flourish and become the rock star he was always born to be. My friends from all corners of the country had turned up, and we got through the set. Weirdly, I remember more of everything else than the actual playing of the gig. It was just so hot man, there’s nothing else to say. There’s pictures of me from that where I look like I’m melting.
Tori: What defines gothic rock 'n' roll for you in the current decade?
D.W.: Me and my band.
Tori: Do you think you are "The Camera Girl's Genius," and what does that title truly mean to you?
D.W.: I am, but it depends what I say.
It’s basically about being the subject of a photograph. You’re a musician playing a show, and there’s a girl there taking pictures. You become her subject for the half hour you’re on stage. She’s reacting off of you and you alone. You become her “genius” because everything you do gets a photo taken. Everything you do is noteworthy. Half an hour later, your set ends, and it’s all over.
But then again, it depends what I say.
Tori: The song is described as an act of "chaos." What kind of "chaos" are you referring to, both musically and thematically?
D.W.: Chaos as in rock ‘n’ roll. Not just a band who have rehearsed their songs and are all squeaky clean and ready to politely make a little bit of noise on stage. Chaos as in Jimi Hendrix setting his guitar on fire on stage. Siouxsie and The Banshees forming spontaneously at a punk festival. Iggy Pop being hoisted up by the crowd like a flag over a rescued nation. That kind of chaos.
Tori: You and your band have played multiple notable Edinburgh venues like The Voodoo Rooms, The Wee Red Bar, and The Banshee Labyrinth. How has the city's music scene shaped you as an artist?
D.W.: Edinburgh’s thriving post-punk scene opened a lot of doors for us to step into, and offered us free reign to explore and evolve into a more gothic direction. There are many great acts in the city as well who we consider contemporaries and influences. North Orbital are my favourite Edinburgh band. Their songs and music are simply amazing, and they really inspired me to take the Edinburgh scene more seriously. I also really like and admire Unspeakable Monday, who we see as kindred gothic spirits.
Tori: What is next for Dylan Wilson and the band? Do you have an album or an EP on the horizon?
D.W.: Next up immediately is our Christmas Special, at The Banshee Labyrinth on 6th December, with our old friends CVGV Events.
After that, well. What can I really say? The band and I don't really make any plans. All we do is vibe.
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