Often sporting fluorescent green locks and go-go boots, plus a voice entwined with ardor, Scowl vocalist Kat Moss isn’t afraid to make noise. “I’m not trying to hide the fact that I want to push the envelope with my music,” they explain.
Since their 2019 self-titled debut, the Bay Area fivepiece’s unexpected integration of influences from across alternative rock has gained considerable traction – including a spot at last year’s Coachella and major punk festivals.
“I’m not trying to hide the fact that I want to push the envelope with my music.” – Kat Moss
“I genuinely never expected anything. When we started this band, all I wanted to do was play shows with my friends in the Bay,” says Moss. “Everything has been this incredibly pleasant surprise.”
The group’s latest EP, Psychic Dance Routine, presents a testament to Scowl’s sonic evolution. Building on their signature speedy, abrasive foundation, the five-song endeavor flirts with static grunge for a refined Nineties flair. The band recruited producer Will Yip, who’s worked with hardcore acts like Title Fight and Turnover, for the project. Moss welcomed the collaboration, eager to find a like-minded voice to help expand their primal punk sound.
“Your crazy ideas can get realized and understood by the person who’s speaking the same language as you,” says the bandleader.
Equal parts rocker and pop fanatic, Moss credits Thom Yorke’s double-edged lyricism and Mannequin Pussy’s stark vocal delivery as recent sources of inspiration. The singer relishes in the distinct music tastes among Scowl’s members: guitarist Malachi Greene, bassist Bailey Lupo, drummer Cole Gilbert, and the newly enlisted Mikey Bifolco.
“Everybody’s kind of got their own thing that nobody else understands,” says Moss. “It creates something really fun and diverse and dynamic about [our] music.”
Approaching the first anniversary of Psychic Dance Routine, the vocalist reflects fondly on the Flatspot Records project – which earns them a headlining spot on the Baltimore label’s unofficial showcase, on Sat., March 16 at the Little Darlin’, alongside End It, Buggin, and more.
“It gave me such an opportunity to flex some creativity that I didn’t get to really show the world prior,” says Moss. “We just wanted to feel like the music was unapologetically us, and I think we did that.”
Scowl
(Unofficial shows only)
This article appears in SXSW 2024 Festival Guide, Part II.
