Vicky Speedboat is the new raw indie punk project of Sean Huber (Modern Baseball, Steady Hands) and William Lindsay (W. C. Lindsay, Steady Hands). Funeral Sounds had the chance for a quick chat with vocalist/drummer Sean about the band, their debut EP Two Years No Basement (review here), the mentality the pair took going into the record, and what they hope to bring to the table.
The psychology behind additional projects and the desire to have them exist outside of a more “core” project is incredibly interesting. Considering you both do Steady Hands together, which is a side project within itself, could you talk about the mentality that went into the formation of Vicky Speedboat and why you felt this music required its own personal moniker?
The formation of this project began with a simple desire to work on something new. To leave the constraints we have built to solidify our other projects and explore some uncharted territory. But what happened was something we could never have expected. Steady Hands, at the core of it has always been Sean, and W.C. Lindsay has been Will. But once we left our personal comfort zones that come with being the brain behind a project, it felt so liberating. By letting each other in to what usually be a lonely process, the songs wrote themselves faster than anything we had previously done. We made choices we normally wouldn’t, we made each other better. This felt different then any other of our projects and we felt it needed to be named appropriately.
What is one positive experience or lesson you’ve had with your other bands that you hope to replicate with Vicky Speedboat? And what’s one misstep that you hope to avoid?
It is hard to pick one lesson that the last decade of playing in bands has taught us. The fact instead is that this the first project either one of us has started after having some real knowledge of touring and how to be in a real band. We’ve been doing other projects for years and years, so we’ve always had to learn along the way, to constantly adapt with the experience we gain. But for this project, we know a lot more going into it, which if nothing else I believe allows us to make every choice more strategically than we did back in the day. There’s no demo tape of songs we wrote in high school that you are gonna find this time around.
Both in comparison to your individual work and even within the tracks on Two Years No Basement itself there is a great deal of variation in sound. Could you speak to the influences you specifically brought in for this EP, as well as how you were able to fit in some of your more general influences that span all of your projects?
We did a great deal of talking about the style of this project before we got in a room and started jamming. We’ve toured together for years and shared an immeasurable amount of records to each other. But I think as far out there you can go with experimentation, sometimes it’s just the most fun to go back to the beginning and make something straightforward. We listened to a lot of Tom Petty, Titus Andronicus, Japandroids – we wanted to see how much emotion and energy could be packed into a rock song.
These songs largely combine gritty, distorted instrumentals with comparatively clean and melodic vocals, with “Dave’s Bed” being a prime example. What effect do you hope the cognitive dissonance that this creates has on listeners?
I think one of the biggest things that excites the two of us is hiding clean hooks inside songs you would never expect them. Whether it was pop music or metal, a good song is a good song. So we tried to sneak in catchy hooks inside gross feedback and screaming guitars. Things that might make you love a song and not necessarily know why. The dichotomy is something we really enjoyed playing with.
If you had to give three separate one-word descriptions to summarize Vicky Speedboat’s music and what you hope it elicits in the audience, what would they be? One adjective, one verb, and one noun.
Rock, rock & rock.
With your first show coming up this Sunday, do you have any shenanigans planned to make the performance as wild and intense as the “Passing Through Wales” music video?
In terms of fireworks, I think the clerks at the state store have begun to grow suspicious of us. But we don’t expect any performance to be anything untrue to our personalities, so there’s definitely some shit to be fucked up.