Is the death of death for human beings?

By Yvonne Hawkey

Share: Share:

‘Love’, a psychotic cocktail of tension and menace, is the Web3 track by alternative rock band Death of Death. The track is a fundraiser for the Teenage Cancer Trust, a UK Charity, with all proceeds of the first week’s sales being donated. All holders will also be provided with the stems of the song (isolated guitars, bass, drums, keyboards, vocals) on Death of Death’s Discord and Telegram channels and invited to submit remixes. Vincent Dusk, singer, songwriter and producer of Death of Death, will select his favourite remix for an airdrop on Public Pressure.

Death of Death, what inspired this name?

“It has to do with when I was working in artificial intelligence and the various concepts of possibly ending human decay at the mind level. The possible symbiosis of a human mind being transferred into a digital form – into a machine existing on a different kind of level. So, in effect, the “death of death” for human beings in the quest of a better, stronger, more efficient version of who we are. That was where my head was during lockdown!”

Tell me more about why you’re releasing this track as a fundraiser for the Teenage Cancer Trust.

“I think I do charity in a way that’s different to most people. I’m usually driven by anger rather than a desire “to do good”. I don’t seek a do-good feeling for helping my fellow humans. In fact, the concept of needing charitable donations to help people with their most basic human needs in rich western countries is just wrong. It should be what governments spend our taxes on, rather than relying on people being charitable. The one thing that affects me the most is seeing young people not being given a chance. When I see homeless people, it really pisses me off, but when I see a very young person being homeless or kids not getting a chance at life because they’re terminally ill or going through horrendous treatment in a hospital, it’s hard to take. So that’s why I support the Teenage Cancer Trust. If I can somehow help a young person get a chance at life, then that’s as good a reason as any.”

Do you feel comfortable exposing the idea behind a song? What about ‘Love’, can you tell me more?

“It’s called ‘Love’ but it’s anything but “Love”. It’s about someone that is a real psycho in a relationship. So, the opening line sets the tone “You strike with lies and deceit” and it goes on from there.”

So, you’re more “Dusk” than “Dawn”. What drives the darkness element? Is it to do with living long winters in a grey old London town?

“Yeah, London, long winters, I struggle more and more every year. But I don’t know, I was a dark one even when I was living in the sunny South of France. I’ve always found comfort in darker music. Of course, I also like high-energy stuff. But really, I always end up being attracted to darker sounds, lyrics, and songs. That’s why I grew up listening to The Cure, Nick Cave, Leonard Cohen and all the post-punk stuff but also bands like The Doors, My Bloody Valentine and so on. They all have a dark edge. So, I guess when I make music, that’s where I live. It comes naturally. Having said that, the song I’m releasing on Public Pressure now ‘Love’, is not that dark, it is lyrically, but it’s actually fairly pop in its format.” 

Music from childhood, always holds a special place, and resonates in an adult body – what music has stayed with you?

“Really, it’s impossible for me to ignore The Cure and Nick Cave when they tour or release new stuff. I’m still hooked, and I still listen to “the old stuff”, just like when I was fifteen years old or something. But of course, I’ve vastly expanded my taste and listening palette since. They are still my old-time greats though.”

Why did you decide to leave France and live in London? And, how has this moulded your musical career?

“Well, I’ve always looked at the two countries being physically so close that in essence, it is not a bit deal. I can be in my home in France at about the same time it would take me to go to Scotland or something. So, I’ve always been relaxed about it and never felt stuck or having made “a big decision”. I’d feel differently if I’d decided to live in South America for example. But really, France and England, no stress.
In terms of my musical career, I think the attraction is always the sounds I like often from the UK. So, it’s been good to be “in the culture” and work with musicians here.”

Do you find refuge in music?

“Yes, sure. I think every music superfan does. If you are deep into music, then it will flow with your emotions, and your life experiences and have great meaning in your life. That’s definitely the case for me. I think making music is a little different. I just like that thing of being fully immersed in it, the focus, the mind being locked in creating, finding solutions, experimenting etc. Sports people, philosophers, yogis etc, always talk about the importance of being immersed in the present moment, with no thoughts of the future, or past and no polluting thoughts. I often experience that state when making music and hours can fly by without noticing. It’s important.”

Why did you release ‘Love’ on Web3?
“I do believe in the power of blockchain-driven decentralization generally speaking, as a better, fairer, more trustworthy way of organising the running of businesses or public services, with a certain level of governance being afforded to participants, allowing them scope for influencing policies that concern them in one way or other. So, when it’s applied to music, I see the same sense and logic.
Web3 is allowing artists to develop new business models more deeply integrated with their fans, and to enter new spaces such as Metaverse gaming for example. 

The way I look at it, you’d be mad as an artist not to add this string to your bow. And it’s not an “all or nothing” game. You can still do streaming, social media etc as usual. You are just adding something new, something extra to your activities, reaching new fans, and communities, taking part in building valuable communities that help your career and improve your relationship with your fans. There is absolutely nothing to lose, providing you do your Web3 releases with a trustworthy partner, like Public Pressure. 
Fundamentally, I see Web3 as a logical evolution of music distribution. it will grow massively and in my opinion, will eventually become the standard by which the artists and the music industry at large operate to release music. So, I’m just an early adopter. I believe in it, and I love evolving in the Web3 world, with all the possibilities and tools it offers to artists and fans.”

Follow Death Of Death