A Perpetual Becoming: In Conversation with Zwil AR of Flesh Eater
Zwil AR, a multi-talented musician and member of the experimental art-pop trio Flesh Eater, is no stranger to the world of musical exploration and sonic innovation. Their creative prowess and unique musical perspective have captivated audiences with their mesmerizing synths and vocals. With each endeavor, Zwil continues to push the boundaries of what music can be, embracing the contemplative and introspective nature of their art.
In an exclusive interview, Editor-in-Chief Madison Case had the privilege of delving into Zwil AR's creative processes in Flesh Eater, thoughts about queer art and cisheteronormativity, and latest single “komfortzone” in collaboration with Fiona Apple and Zelda Hallman.
Madison Case: Zwil, it’s so great to meet you! How is 2023 treating you?
Zwil AR: “Hi Madison, same! It’s been so magical. Touring and recording – we’re so close to finishing our first record; it’s an amazing feeling, every step feels so huge. Hope it’s going well for you as well – Periphery is doing some really great work we’re thrilled to keep up with!”
MC: I wanted to first say congratulations on the release of “komfortzone!” The track has been widely praised as a captivating sonic journey that tackles fear and showcases personal growth simultaneously. In light of the introspective and transformative nature of “komfortzone,” can you share any personal experiences that have played a role in shaping the themes and emotions depicted in the track?
Z: “Thank you! This song is so close to my heart. I wrote the lyrics sitting outside a cafe in Berlin; the experience of navigating a new culture & language was symbolic of my fear of being seen for who I am. It was back when I was still scared to dance at clubs. It’s a dissection of that precise moment when I meet my edge and decide whether or not to take another step. Writing these words was a way of setting a goal to take that step, a move that at first feels like stepping off a ledge but then, the space ahead illuminates. Blake’s drum machine work here was so inspiring to this idea, years after the lyrics were written. He made it while he was learning how to use his new electribe, so it perfectly captures that wonder of moving forward into newness.”
MC: The lyric “A field of sunflowers / With their backs toward me / I’m on the train / I’m on the train” in “komfortzone” carries a poignant repetition reminiscent of Fiona Apple’s “Fetch the Bolt Cutters.” It is definitely worth noting that Fiona collaborated with you on the track! How did the repetition of those specific lyrics in "komfortzone" come about, and how does it resonate with the themes and emotions explored in the song?
Z: “Sometimes when I write lyrics, there’s an image burned into my mind. This was one of those, and when I found the melody, it felt like I could sing it forever. That field of sunflowers is real. I saw it on the train from Berlin to Dresden, and while I’d seen photos of sunflower fields before, they were all facing the morning sun to the east, with their backs toward me. My dream as a singer is to look in the eyes of someone singing my songs back to me. I’ll never forget that moment. Fiona’s harmonies there are so playful; you can hear on Fetch so many examples of just stacking vocals on vocals on vocals (‘Relay’, ‘On I Go’), so it seemed natural to bring that energy to this. She really captured that joy the song builds to.”
MC: In what ways did Zelda Hallman and Fiona Apple contribute to the creative vision of "komfortzone," and how did their unique perspectives and talents enhance the overall depth and meaning of the track?
Z: “Zelda’s always been an inspiration to me. A beacon of hope as a queer person with a sustainable & distinguished career in the arts, always encouraging me to explore. She’s such a comforting presence & is so wise – a master of bringing people together and facilitating the right-place-right-time energy that opens up the creative flow. Every time we interact, I leave having learned something.
I used the word playful before, but that’s the best way to describe Fiona and Sebastian’s contributions to the song. What we originally showed them was essentially just the synths, drum machine/kit, bass, guitar, & vocals. The song could’ve been done, but it was missing that freeform, human element, since everything was so locked in. They just kept listening to the song, all the way through, over and over; someone would have an idea, and we’d just run with it. We probably played the track 20 times in the studio that day. The song itself didn’t change much after we were done, but it was brimming with so much life, like it had begun to blossom into its own life.”
MC: For fun, I need to know… what’s your favorite Fiona album?
Z: “Oo! That’s a hard one, because they’re all so different. I’ve gotta say I connect with Fetch the Bolt Cutters the most though. It’s the most stripped-down/raw feeling. It reminds me of learning to produce, songwriting with just percussion and singing into a looper. While it’s expertly crafted, it’s unpretentious; you feel like you’re really in her world.”
MC: Flesh Eater is no stranger to pushing boundaries. As an experimental art-pop trio, Flesh Eater’s sound is often described as unconventional and unique. How do you approach the process of pushing these boundaries while creating a distinct sonic identity for Flesh Eater and staying true to your artistic visions?
Z: “These descriptions are so validating to read, honestly, thank you. There are so many reasons why our songs come out all fucked up. We all have distinct and overlapping musical backgrounds that challenge and/or ground each other. It’s a big balancing act of ideas that involves some key tenants we try not to stray from. We do our best not to decide what something is going to be unless it’s clear that it’s becoming something we should latch onto, or to say it another way, we try to surprise ourselves, but not to the point that we become indecisive. When we do decide on a specific direction early on, there’s always a “but” – like, “it’s gonna be UK Garage, but deconstructed,” or “this is kinda like Burial, but with a maximal noise rock break & Vampire Weekend bass.” We put a lot of trust in each other. By trying every idea even when ⅔ of us are extremely skeptical, by recognizing each other’s voice when it shines through and leaning into that, by trusting each other’s judgment when they say, “No, we’re not doing that, sorry,” and by letting everyone do their thing outside of band spaces. (The behind the scenes production work Maxwell has done for “edema” & other tracks is so out there; I can’t wait to hear it mixed).”
MC: As a band formed in Nashville in 2015, how has the vibrant music scene and unique atmosphere of the city influenced Flesh Eater’s sonic development?
Z: “We’ve found ways of fitting into the cracks of different scenes here. Music City has a lot of different styles represented, and I think there’s something for everyone in our music. We pull from punk/post-punk, techno, house, experimental/avant-garde, pop, EBM, even country to some degree, whether musically or in our performances. There’s a history of resistance among the three of us though. We never wanted to sound just so as to fit into any of these spaces perfectly. Our initial drive to challenge listeners eventually led to a desire to open the boundaries we created with dissonance and odd time signatures. It’s a big reason why our live stuff is so rooted in dance music. Our recordings are so heady (which we LOVE), so we’ve found ways to present our live audiences with something (hopefully) more immediately accessible.”
MC: The band admirably aims to inspire love and hope in its own, singular way. How do you see your music contributing to the broader cultural landscape and the experiences of your listeners, particularly those who may resonate with your queer identity?
Z: “I conceptualized the Flesh Eater in a really dark place – in the midst of self-discovery, I was battling depression. I see lots of queer or just really expressive people go through that as well. I wanted to create a space through music for people to let that out, wielded not bereft, in celebration not destruction. It sounds contradictory to put it to words, but it’s that idea of accepting, even embracing the awfulness of things, of my inner and outer worlds, and finding freedom in it.
As it relates to queerness specifically, we’re often indoctrinated with shame before anyone even knows we’re queer, and beyond that, we’re taught to expect that we’ll be hated for being queer. One of the things the Flesh Eater teaches us is to consume ourselves, then each other, like a perpetual becoming and acceptance, grotesquely beautiful. To see and be seen is the most satisfying and unifying experience. Boiled down, we’re all the living meat.”
MC: On that note, how does your personal identity as a queer artist influence your creative process and the messages you convey through Flesh Eater projects?
Z: “It’s intrinsic! We’re queering genres, reality itself– (laughs), but for real, the nature of existence is so abstract when you resist cisheteronormativity. Flesh Eater is sort of about normalizing that experience. There are a few love songs, or songs about relationships, on the album that hardly come close to saying, “I love you boy, I’m queer this is queer love, gaygaygay trans gay” but like, “when I want to drink / get the juice from the Aylmar / Oo you’ve got my whole brain sweatin’” and “Drinking from the taphead / following the lead / posted under pooling rain” where it’s actually not about being queer, it is queer. (Elefantenrennen was probably the closest we’ve gotten to being on the nose with it, literally about looking for love on Grindr xD)”
MC: 2023 is definitely shaping up to be a big year for Flesh Eater, with an exciting lineup of four upcoming shows and three DJ sets on the horizon! What can fans expect from your upcoming shows in Nashville, Brooklyn, and Asheville? How do you bring the energy and emotion of your music to the stage?
Z: “There are even more we haven’t announced yet 😈 For folks who haven’t seen us, prepare to dance, cry, love, be disturbed (laughs). We try to craft a story of sorts with our live shows, framed like a ritual to release the Flesh Eater. Blake goes wild, jumping around and hyping so much it’s a wonder he’s so precise with the drum machine, and during Stylops, I’m usually on the ground doing what I call “writhedancing” (something akin to Butoh & Isabelle Adjani’s performance in Possession <spoilers if you haven’t seen this film, drop everything & watch it>, with some Alien thrown in there). After which, we dance in celebration of our newfound freedom. We’re not always this unhinged or noisy, though, this was a special occasion.”
MC: The band’s debut LP is highly anticipated. Can you provide any insights into the themes or concepts that will be explored in the album? Do you have any fun projects, plans, or releases you can tease?
Z: “SO many!! Though most don’t have a date yet. The album is very close to finished. Like I said previously, there are themes of queer love, but also of capitalism, fear, and consumption. There’s an overarching dichotomy between being trapped and feeling free. It’s going to be way less rooted in techno than our live stuff as well, more dimensional in that it incorporates lots of the styles we’ve put forth thus far. I’m so excited to show it to everyone, and I’m equally excited to hear the remixes. There are so many incredible artists we have on a list that are going to just blow my mind. Speaking of remixes, we made one that releases in August & hasn’t been announced yet! We’ll let Klypi take the reins on that though.”
MC: Thank you so much for joining us, Zwil—it was a delight to get to know more about you and your music. :-) Where can our Periphery readers find and support you?
Z: “Thank you! I’m so happy to share all of this, and honestly, you made me think! We’re on all the streaming platforms (got some fun playlists on our Spotify), and we update our linktree regularly with new music and upcoming shows. We’re most active on Instagram for those wanting a peep into our daily goings-on, and we’ll be dropping some merch soon on our Bandcamp.”
Periphery Magazine thanks Zwil AR for their contribution, and wishes them luck with their future releases in Flesh Eater! You can find them on social media and streaming platforms here:
Instagram: https://www.instagram.com/theflesheater/
Bandcamp: https://flesheaterband.bandcamp.com/merch
Spotify: https://open.spotify.com/artist/5QVHc5siD2DtIFMD8ETAuA?si=0Mzw1fR-SGuGKGRPO8Gq5g&nd=1
Linktree: https://linktr.ee/flesheater
Cover Photo courtesy of Red Fred.
If you are interested in being featured in Periphery Magazine’s interview series surrounding interesting people in creative roles, please contact Madison Case at theperipheryzine@gmail.com.