With its newest single, ‘The Worst of Everything,’ alt-rock quartet Delta Fire from Glasgow, Scotland, is presenting a completely different side to themselves. This band is known for their high-energy performances, but in this song they take it down a notch, opening up to show almost-ballad quality, exploring difficult emotions, and allowing for hope and connection to remain.
The song was the result of real life experiences with low moments, both within and out of band, and is about depression and anxiety without being preachy. The message is clear and strong: Talk to others, pay attention to friends, and don’t let anyone experience hardship without someone there to help.
During an honest discussion with Mister Styx of Music Arena GH, Delta Fire sheds light on the inspiration behind the song, the motivation of their rhythm section and how their songwriting has become a true group effort. They also discuss recording at Chem 19 Recording Studio, the feeling of analogue gear, and why it’s important for them to test their songs in front of a live audience before going to the studio.
This interview too, is filled with honest moments and real insight that unveils the people and passion behind “The Worst of Everything”.
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“The Worst of Everything” explores the feeling of going through an experience where everything seems to keep getting worse. What inspired the band to turn that difficult idea into a song?
We are four boys from Scotland, if it’s not the consistent rain that’s bringing you down, it’s everything else.
Truthfully, even within the band, we have all dealt with times of low feeling. It was never our intention to write a track that explored such a low feeling but when inspiration strikes – you go with your gut.
Despite its dark subject matter, the song carries a message about opening up and finding support in others. Why was it important for Delta Fire to include that sense of hope?
We are in no way preaching. Depression and anxiety is a very raw topic for most. There is hope to be found everywhere but taking that first step, opening up about it, is often the toughest part.
There is a brilliant health initiative here in Scotland at the moment, pushing for men to talk about their mental health – to not be afraid of speaking up – especially in the construction and industrial sector where most of the band work.
The track has been described as your first almost-ballad. What made you want to slow things down and explore a different side of Delta Fire’s sound?
As you can probably recognise – the rest of our catalogue is pretty pacey. The Worst of Everything is us turning the tempo down to rest the ears.
The subject matter also demands some reverence, that is provided in this slower and more open style.
The song is strongly driven by the rhythm section, with Aidan Spencer’s bass and Andrew Knox-Watson’s drums playing a major role. How did their performances shape the character and emotion of the track?
We are blessed as a band to have a brilliant rhythm section. We always joke that Aidan is the best musician in the band. When it comes to Knox’s drumming – the care and attention he takes to perfect his articulation and playing – is simply astonishing. With the whole catalogue, the energy is so high throughout. That is a testament to Aidan and Knox’s playing.
Delta Fire’s songwriting process has evolved from being challenging at first to becoming a more collaborative and cyclical approach. How has that change affected the way the band creates music?
It’s certainly meant output has dramatically increased. Rather than only song being worked on at a time, we have many ideas swirling at once. When you have a drummer like Knox, with a widely-inspired background, there is always something off-the-wall rhythmical being shared.
It also means that there is shared ownership of songs – everyone has their say, everyone is part of the narrative.
“The Worst of Everything” is considered a spiritual successor to “Eyes Burn Gold,” while still carrying the heavier energy heard in songs such as “Lady Danger.” How do you balance the band’s softer and harder sides?
As before – it would be unsustainable to go a million miles an hour, all the time. As such The Worst of everything lays back a bit but at its heart there is still the distorted guitars. Also, a lot of high-energy, seen on Lady Danger and Love Stops First is paralleled in the introspective lyrics of The Worst of Everything.
There is no balancing that energy there is just tipping the scale to leave space to roar back into our tougher material.
You returned to Chem 19 Recording Studio after recording your earlier singles there. What makes the studio such an important part of Delta Fire’s sound and creative process?
Chem19 is an amazing studio. It’s hallowed halls with all the amazing artists that have recorded there. We have recorded all our music there – and we will continue to do so for as long as possible.
The equipment provided at the studio is way better than anywhere else we visited.
On-top of that the amazing production team at the studio now know us as a band and know how best to commit us to tape.
The recording made use of vintage equipment, including 60s tube amps, vintage Slingerland drums, USSR microphones, a Neve analogue desk and magnetic tape. What did working with this equipment bring to the recording?
It brought an openness and truth to the recording. There is no-where to hide when going 100% analogue.
Based on that, it’s really important to work with producers and engineers that are not only familiar but well educated in making such technology to work.
You’ve had a busy summer of gigs and festivals across Scotland, including the inaugural LOOSE WIRE Festival in Glasgow. How does performing these songs live influence the way you approach your studio recordings?
It is one of the most important factors within our recording process. We believe it to be very important to take a song on the road before you record it.
What it has meant is that there are live and studio versions of all of our songs – longer intros, shorter bridges, up-tempo, down-tempo. All played live so we can get the audiences reaction, and capture that same energy in the studio.
Your message to listeners is simple: “Check in on your friends. A problem shared is a problem halved.” What do you hope someone going through a difficult period takes away from “The Worst of Everything”?
You are not alone and this feeling too shall pass.
