Ryan Walchonski, a member of the Baltimore-based electropop band Aunt Katrina, describes himself as a generally happy person. However, he admits that negative emotions often shape his songwriting, as it’s the easiest way for him to express those feelings. His debut album, This Heat is Slowly Killing Me, set for release on July 11, captures the essence of existential dread and social anxiety. The album explores themes of inner turmoil, offering a stark contrast to his previous work with the band feeble little horse. Walchonski left the band in March to focus on his solo career, although both projects share a similar sound. Aunt Katrina blends experimental rock with noisy, off-kilter guitar pop, creating a mix of upbeat and doomed melodies. Walchonski’s music draws inspiration from artists like Aphex Twin and Four Tet, with ambient breakbeats and warped synths creating a digitally-distorted texture.
Walchonski wrote the album’s lyrics during the cold winter months, finding solace in his basement as he worked through his thoughts. The contrast between his isolated winter writing sessions and the warmer D.C. summer nights spent recording adds a unique dynamic to the music. His lyrics reflect his personal struggles, often spilling out in a stream of consciousness. Songs like Peace of Mind and Just a Game tackle feelings of being trapped in one’s mind or constantly second-guessing oneself.
In an exclusive interview with The FADER, Walchonski shared his thoughts on his departure from feeble little horse, his influences, and the creative process behind his new project.
On Leaving Feeble Little Horse and Starting Aunt Katrina
Walchonski reveals that he had been writing songs for Aunt Katrina for a couple of years before formally leaving feeble little horse. He had already started working on Aunt Katrina’s debut EP, Hot, before feeble little horse’s Girl with Fish album was released. He wanted to focus his energy on building a music community in D.C. and Baltimore, where he currently resides. “I didn’t want to hold my bandmates back,” Walchonski says. “I wanted them to have the freedom to tour and do what they wanted to do.”
Writing for Aunt Katrina While Still in Feeble Little Horse
While still in feeble little horse, Walchonski began writing songs that didn’t quite fit the band’s style. These songs ultimately became the foundation for his solo project. He explains, “Some of the songs I was writing, I knew weren’t for feeble little horse. I wanted to release them somehow.”
Assembling the Band
Walchonski enlisted Ray Brown on drums and Alex Bass on bass and production for the album’s studio recordings. He met Ray when he moved to D.C. and discovered that Ray was a fan of feeble little horse. Walchonski was already a fan of Snail Mail, the band Ray plays in, and was excited to connect. “Ray is one of the most sociable people in D.C.,” he says. “He’s so kind to everyone he meets, and he’s very present at shows.” Alex, who doesn’t perform bass live but plays on the album, helped Walchonski refine the songs. “My writing process is very singular,” Walchonski explains, “but Alex helped me bring my demos to life.”
Creative Headspace for the Record
When asked about the emotional landscape behind This Heat is Slowly Killing Me, Walchonski admits that much of his songwriting comes from negative emotions. “Writing music allows me the space to express myself and be vulnerable,” he says. He points to themes of existential dread and anxiety, as well as personal loss, including the passing of several close relatives. The album reflects his self-criticism and concerns about how others perceive him, addressing the emotional weight of changing relationships.
Musical Influences
Walchonski’s music is sonically diverse, drawing inspiration from several genres. He mentions The Radio Dept. as a major influence, noting their ability to blend pop sensibilities with melancholic undertones. Walchonski also cites Radiohead’s Fake Plastic Trees and Thom Yorke’s vocal delivery as significant influences on his vocal approach, which includes more falsetto and exploration of higher vocal registers compared to his earlier work.
Electronic Inspirations and Unique Sound
One of the key elements that sets Walchonski’s music apart is his integration of electronic elements into his rock compositions. He cites Aphex Twin and Four Tet as key electronic influences, particularly for their ability to convey emotion through instrumental music. On the track “Choir” from Hot, Walchonski experiments with looping drum beats and samples in homage to Four Tet. He also incorporates a break on the album, an instrumental interlude inspired by Aphex Twin’s electronic manipulation of sound. Walchonski enjoys blending ambient synth music with rock to create unique emotional landscapes, drawing inspiration from artists like Emily Sprague of the band Florist.
In this new chapter of his musical journey, Walchonski’s Aunt Katrina project continues to explore the intersection of electronic music and rock, weaving personal struggles and existential questions into a sonic tapestry that captures both vulnerability and resilience.
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