Cocomyrrh: Thom, thank you so much for sitting down with me today. Your new album Strange Burden is generating a lot of buzz, especially with the single “Hey Kekulé.” Can you talk about how the essay “The Kekulé Problem” by Cormac McCarthy influenced the band and your songwriting?
Thom Waddill: Absolutely, and thanks for having me. The essay really struck a chord with me, especially McCarthy’s idea of the subconscious as “a machine for operating an animal.” It got me thinking about how much of our decision-making, especially in creative processes, isn’t fully conscious. When I perform or write for Font, I’m not always consciously crafting every word or sound. Sometimes, it’s more about letting the subconscious take over. That’s something McCarthy explored through August Kekulé’s dream of the ouroboros, where the solution just came to him in this purely instinctual form.
Cocomyrrh: So, would you say you’re tapping into a similar kind of subconscious creativity when you write or perform?
Thom Waddill: Yeah, absolutely. That’s what I’m after. When I first read the essay, I connected with this idea that language can sometimes be limiting, you know? Kekulé didn’t “figure out” the benzene ring through words—it was an image, a feeling he got in his dream. That’s the same impulse I try to follow when I’m writing lyrics or performing. Lyrics aren’t always about telling a straightforward story or conveying a message in the traditional sense. Sometimes they’re just another instrument, like the drums or guitar. It’s more about the sound and feeling than what the words mean.
Cocomyrrh: You mention that you’re more focused on spontaneity and instinct in your music. How does that influence the band’s live performances?
Thom Waddill: Our live shows are very much driven by that same energy. We’re always recording our practices, partly because we’re never sure when a new idea will pop up. Performing live allows us to experiment with songs in real-time. A lot of our music evolves as we play it live. We don’t feel bound to the recorded version of a song. In fact, sometimes recording feels like it could lock us into something before we’ve explored all the possibilities.
Cocomyrrh: That’s really interesting, especially since you’re known for playing so many live shows before releasing much music digitally. What’s behind that choice?
Thom Waddill: We just love the process of discovery. Recording a song too soon can feel like you’re closing a door on something that still has room to grow. By playing live, we get to explore new angles of the music every night. Each show is a chance to tweak, refine, or even completely change parts of a song. There’s a finality in putting something down in a recording, and we like to avoid that for as long as possible. It’s all about staying open to what the music is trying to become.
Cocomyrrh: I imagine having two drummers also gives you a lot of room to experiment with rhythm. How do you and the rest of the band balance all of that sound, especially with the potential for things to get really dense or overwhelming?
Thom Waddill: Yeah, that’s definitely something we’ve had to learn how to manage, especially Jack [Owens] and Logan [Wagner] as the two drummers. When you’ve got two percussionists going, there’s always a risk that it could get chaotic or cluttered, but they’ve developed this really intricate push-pull dynamic. It’s all about restraint—knowing when to hold back and when to go all out. Jack had to dial back his usual instincts when Logan came on board, but now they’ve found this great groove where they complement each other without overwhelming the rest of the sound.
Cocomyrrh: You’ve mentioned bands like LCD Soundsystem as an influence, especially with the rhythmic focus. How do you keep that balance between complexity and danceability in your music?
Thom Waddill: A lot of it comes down to how we prioritize rhythm in everything we do. Like LCD Soundsystem, we build from the rhythm section first, layering other elements on top of that. We like to play with rhythms that make people want to move, but we also love experimenting with things like syncopation and polyrhythms to keep it interesting. The drums aren’t just there to keep time—they’re a driving force behind the song’s energy.
Cocomyrrh: The album seems to have a lot of layers. You’ve mentioned that each piece is constantly evolving, even live. How do you make sure all of those layers still come together into a cohesive whole?
Thom Waddill: That’s something we spend a lot of time working on. Each song has multiple moving parts, but the key is making sure they all serve the same purpose. We all follow these individual threads while writing and performing, but those threads ultimately lead back to a single point of unity. Everyone in the band brings something different to the table, but we trust each other to let those different parts blend into something that feels whole. Sometimes that means a song sounds completely different after a few performances, but it’s always working toward that sense of cohesion.
Cocomyrrh: Can you give me an example of that cohesion on Strange Burden? Maybe a track where it really comes together?
Thom Waddill: Definitely. A track like “Cattle Prod” is a good example. It’s driven by the groove Jack and Logan create, and Roman [Parnell] on bass is right there with them, locking everything down. We layered everything on top of that—synths, guitar, vocals—but the song is still deeply rooted in that rhythmic foundation. Even though there are lots of different elements, it still feels tight and unified. I think that’s where we’re at our best.
Cocomyrrh: So, you’ve found your own way of answering McCarthy’s “Kekulé Problem”—you’re letting the subconscious guide you, trusting the process, and finding solutions through instinct.
Thom Waddill: Exactly. McCarthy posed the problem, and we’re offering our own kind of answer, through music. You follow that subconscious impulse, trust your instincts, and it leads you somewhere real. And in our case, that place is the stage, where everything we’ve been working on can come alive in the moment. It’s all about feeling and connection, even if you can’t put it into words.
Cocomyrrh: Well, I think you’ve put it into words beautifully. Thanks for sharing your insights, Thom, and I can’t wait to hear what’s next for Font!
Thom Waddill: Thanks so much, Cocomyrrh! Appreciate it
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