Oswald Slain On New Identities And Reinventing Americana

Bristol’s own Oswald Slain are rapidly carving out a name for themselves through their fresh take on Americana-influenced indie rock. Formerly known as Little Thief, the band have destroyed their old identity to embrace a = grittier creative style. 

With their debut album ‘BUCKY’ arriving on 24th October, and singles already building up hype, the group’s momentum currently feels unstoppable.

You rebranded the band from Little Thief to Oswald Slain. What sparked that change, and how do you feel the new name reflects where you are creatively?

I think we took Little Thief as far as it could go. It was a solid 8 years and carried a lot of baggage, lots of ups and downs. We had also grown a little weary of the heavy rock sound that it had developed a small reputation for and wanted something that we could start afresh with. In the time we started the band, Big Thief had also risen to legendary status and it just all felt a little weird sharing part of a name with such a well known and incredible group. We had a lot of people getting confused and it was always really awkward when people realised we were actually not an internationally famous band, but just a couple of scallywags from Bristol. It felt wrong and we wanted to start with a new thing… so we did. Maybe it’s growth, maybe it’s ADHD. Who knows.

Bristol has such a rich musical scene. How has the city shaped your sound as a band?

It has an incredible and diverse music scene teaming with all kinds of genres and voices, conforming and rebelling together, producing everything from DIY indie pop dreamers to far out jazz heads, pushing improvisational boundaries. I’m not sure where we fit but it’s thumbed in there somewhere. We’ve been here for around 10 years now and it’s served as a wonderful adult playground for some time. You can find anything you want here. I think the main thing that shapes a sound is the people around you. We’ve had a pretty incredible group of friends and musicians supporting and pushing each other to do new stuff. It’s inspirational and keeps you focused.

Your debut single ‘Happiness Is Overrated’ came out of a pretty low point in your life during the final lockdown. How do you turn personal struggles into music that still feels upbeat?

I guess it’s kind of therapy, to take something that feels like the world is ending and turn it into something that feels good. Music and all forms of art have been doing it since people could express themselves. I feel like that’s why we create stuff like music and art, to give those feelings somewhere to go. To turn them on their head and try and understand it all better.

‘UGLY’ tackles the concept of not really knowing someone until you’ve seen them at their worst point. Was there a specific influence that led you to focus on this subject matter?

Not particularly. I think everyone carries themselves pretty well for the most part, but you only really know someone when you’ve seen them at their worst. The worst is hot. It’s the mess. It’s the fun stuff.

It’s fair to say that you’re reinventing Americana within a UK indie rock context. Who are your main influences you look up to in that regard?

Oooo…. That’s cool. I’ve never been able to say what the genre is or what kind of music we make, so thanks for that… I like it. Influences. I’m currently loving The Stooges, listening to a lot of Pixies and Frank Black and still play Father John Misty when I get a chance. So I guess right now that lot.

‘Have You Got What You Came Here For?’ has this garage-rock grit. Do you see this style as a natural evolution for your future sound?

I actually have no idea. We’re just about to start making another record and I have a bunch of songs in the pipeline. I really don’t know where it’s going to go at the moment and want to go into it with an open mind.

Your upcoming debut album ‘BUCKY’ was created very swiftly, and on a productive routine. How did working at this pace affect the final sound of the album?

It’s just way more vulnerable. There is little to hide behind and nothing is overthought, musically. Putting it out independently has been a different story. That has been massively overthought, very time consuming and ultimately just a whole load of stuff I hate doing.

Many of your songs feel very cinematic in quality. Do aesthetics influence your songwriting?

Yeah. I think you can write songs using a camera style. It’s like you write a tune and imagine a particular sound for it. Or the way a video would be shot. They seldom pan out like that, but it’s all feeding into each other whilst it’s being created. The dream is to have some of our music on the latest angsty Netflix series… you know the ones that are just perfect. Like ‘The End Of The Fucking World’ or something.

The new single is titled ‘Have You Got What You Came Here For?’ so I’ll throw it back to you. What do YOU hope fans come for when they press play on your music?