Issue 93 / October 2018

PISS KITTI
Thrashy and punky and with a
whole lot to say: Dom and Esme
from brand new quartet PISS KITTI
tell us what’s in their manifesto.
“My mum doesn’t
believe that I’m a
vocalist or that people
like Piss Kitti”
If you had to describe your music/style in a sentence, what
would you say?
“A bit too pissy for me” – Esme’s mum
How did you get into music?
Dom: I grew up around punk music and have been in bands since
I was a kid, so it just happened organically.
Esme: I personally have no musical talent. The band started off
last year as three girls who met through our ex-boyfriends; we
split up with the lads and created Piss Kitti. I guess it’s just a
product of that bonding experience. We used to practise in my
tiny flat… but then we met our guitarist Dom one night and that’s
when it all kicked off.
Can you pinpoint a live gig or a piece of music that initially
inspired you?
Dom: Hearing songs like Complete Control and Janie Jones by
The Clash were always poignant influences for me.
Esme: Lyrically, I’m very inspired by Syd Barrett and Daniel
Johnston, that kind of childish storytelling, diary entry vibe. I also
like how neither of them can actually sing, it makes me feel better
about myself. I’m not a poet; I’m not a singer.
Do you have a favourite song or piece of music to perform?
What does it say about you?
Esme: My favourite song of ours to perform is Watch Ur Mouth. I
get to mince around on stage being all angry and snotty.
Dom: Feeling Badly.
What do you think is the overriding influence on your
songwriting: other art, emotions, current affairs – or a mixture
of all of these?
Esme: The thing I enjoy most about the band is that I don’t feel
like we take ourselves that seriously. Most of the lyrics are just
little rhymes that I’ve jotted down in my phone. I’ll show them
to Dom and he’ll jam out a stanky riff that always seems to
understand my words.
Dom: Esme’s voice and her lyrics are what really inspires me
when I’m coming up with the music.
If you could support any artist in the future, who would it be?
Dom: I got introduced to Parquet Courts’ music recently – I don’t
think we’d be out of place supporting them.
Esme: Cupcakke.
Do you have a favourite venue you’ve performed in?
Esme: The best gig in town is Drop The Dumbulls, I knew it was
my favourite venue when I weed on the Queen’s face in the loos.
Very on brand.
Why is music important to you?
Esme: It’s not, really. I’m primarily a visual artist so never imagined
I’d be in a band. My mum doesn’t believe that I’m a vocalist or that
people like Piss Kitti.
Dom: I think hearing the right band at the right time can really
help you figure out who you are.
pisskitti.bandcamp.com
Piss Kitti’s six-track demo cassette is out now via Sasstone Records.
DANIEL
BOOCOCK
The Desolate One
The breakout success of this
Liverpool filmmaker’s debut short
The Desolate One has marked him
out as a poetic storyteller with an
arresting visual aesthetic. You’ll be
hearing more from him.
“When something grabs
my attention or causes
me to stop in my tracks
without me necessarily
realising, those are the kind
of things that can spark
some type of inspiration”
If you had to describe the style of your films in a sentence,
what would you say?
They’re badass. There’s a distinct visual aesthetic and a narrative
flow that can be either loose or cohesive, depending on the
project. Whichever way it goes, the aim is to leave people
wanting more.
Have you always wanted to create films?
I’ve always been drawn to them. I’ve taken something from them,
studied them in my own way. I’ve worked on some, but I wasn’t
a fan of that at all. It felt authentic to go out and create them, so
that’s what I’m doing.
Can you pinpoint a moment or a piece of art that initially
inspired you?
There isn’t anything specific – though when something grabs
my attention or causes me to stop in my tracks without me
necessarily realising, those are the kind of things that can spark
some type of inspiration.
What do you think is the overriding influence on your
filmmaking: other art, emotions, current affairs – or a mixture
of all of these?
All those things, really, in different doses. But the main influence
on my filmmaking is me; my own imagination mixed with how I’m
feeling with regards to different things from various points within
my life.
If you could show at any film festival or win any award in the
future, which would it be?
Every one. At the highest level. First with a high-end short, then
features.
Do you have a favourite venue you’ve shown in? If so, what
makes it special?
I’ve missed most of the international screenings where The
Desolate One has been shown due to commitments and priorities
to do with my next project, The Neolith. But the first time I saw
The Desolate One on a large cinema screen sticks out. It was
local, on the biggest screen in Picturehouse at FACT. It was just
me, the film’s DOP and sound designer checking a few technical
things. I remember they sat down to watch it and I stayed
standing the whole time. Also, when it was screened publicly at
the same place several months later that was cool. I had a big
crowd turn up making lots of noise so it was pretty memorable.
Why is filmmaking important to you?
It feels authentic to me when I’m doing it. Particularly when it’s
my own project out in the open. When you see it come to life
from a thought in your mind, to paper, then a screen then with
people in front of a camera, there is a clarity to that kind of stuff
I don’t have with other things. It feels correct to be going in that
direction.
Can you recommend a movie, director or cinematographer that
Bido Lito! readers might not be familiar with?
Yeh, me, Daniel Boocock. If you’re not familiar now you will be
soon enough. I’m just getting warmed up, ha!
claretandbluefilm.com
SPOTLIGHT 29