Yes, you read that parenthetical label reference correctly: the weird, deep alt stylings of Kokeshi are being brought back via the upcoming album and concept The Widow Project by legendary label head, Alley Cat. Due out 7th November, what a relaunch it is, as well. Alley Cat developed this 16-track epic over more than a decade and it represents not only the artist’s own journey but a shift in bass music towards pulling in influences from multiple other genres to create something completely different.
Despite Alley Cat herself being known for deeper, darkwave-influenced alt bass, fans should expect the unexpected with The Widow Project. Truly designed as a concept, the album is sort of self-titled. It’s a new presentation of Alley Cat, and rightfully so. Heavy, atmospheric and experimental, there’s a clear departure from what fans may know of the dark D&B siren with the feline name.
With eerie album art, the teaser single ‘Walk Around’ featuring Johnette Napolitano out today, Halloween, a launch party on Samhain in London tomorrow and a blood-red limited edition cassette tape available to purchase along with the digital album, it’s obvious that Alley Cat is leaning into the dark, goth vibe of The Widow Project. With so much going on, including the relaunch of Kokeshi, it seemed a good time to have a sit down with the artist about the journey, the vibe and influences of this jaw-dropper of an album, as well as what’s coming up for Alley Cat. Have a read and a listen.
So starting off with this new dark dubstep/experimental vibe: for your D&B fans who are probably a bit shocked, how did you come to develop the concept of The Widow Project? What made you want to release this sort of album?
If anyone has followed me when my label Kokeshi, launched circa 2009. and is familiar with the catalogue and the Kokeshi ((pod)) Kasts then this album sits alongside all of that. Kokeshi isn’t a D&B label; the only D&B tracks on there are from Bulb who did some amazing tunes such as ‘Tendernes’. It’s more eclectic than that, and some of the older tunes were in the ((pod)) Kasts back then and being played on my gigs. For D&B purists there are two tunes on the album that are leaning that way: ‘Dorothy’ feat. Johnette Napolitano, which comes in at 85 BPM and ‘Post Script’ which is 160.
There will be more D&B tunes to come. I’ve worked on loads of music alone and some collaborations that fit more into a D&B set the last year as well so its there. And my radio show on Kool is for the D&B heads of course.
This is a pretty epically long album. How long were you working on it? How did you decide to do an LP rather than track or EP releases?
I’ve been working on this since about 2012 but I think some of the sketches were older than that. A couple years ago I wanted to rework some of the older tunes and get them out, then in the process I made a bunch of new music that ties it all together. Re: the length, I don’t think it’s that long in terms of say a DJ set; it’s just under 90 minutes, so if you sit down and listen to it like you would a mixtape in order from start to finish, that would be how it was intended. There will be a cassette version as well, by the way. I realise in 2024 to expect folks to hold their attention span that long is a risk but that is my vision and how I want to express it.
I think the business model today is often either a bunch of singles over time or maybe a few EPs as someone decided ‘that works’. It’s not the only way though. There is no promise of success no matter what the formula if you’re doing it organically so why not present it how it feels it should be presented?
Further to timing and the process, you recently released the Big Bad Dark City EP. Were you working on both projects at the same time? If so, how was it switching tempos and vibes? Do you think it helped the creative process on both ends?
Yes I was working on both at the same time; I’ve been making D&B alongside The Widow Project. Because I’m doing my Kool FM show and DJing D&B gigs mostly, it makes sense to do both and it’s fun mixing it up. I’ve been in the studio with Craggz (Battery, Nation) and we have done four tunes so far but I’ve done a bunch alone as well plus my recent remix of ‘Density’ by Uneven that came out on Defrostatica in September.
You went through a lot whilst creating this album, like ownership issues with the project and some tough personal losses. How did you come through it whilst working on all this and how do you think these things informed your work?
This is a very personal record, made from personal hardships and my life and my feelings. I hope that shows and that’s where I am coming from. For now, let’s celebrate on Friday at Four Quarters and just enjoy the moment as I have worked very hard to get this together. I think I came through it all with a ‘slow and steady’ attitude and realised if I spent a hour a night most days I could get a lot done, and I made more than I imagined I would. It takes a while but it works.
Getting into style of the album, how would you describe it to fans, especially those who may see it as a bit of a departure or didn’t see the vein of darkness in your D&B work?
I feel like my D&B is dark in a deep headsy way so it still fits in. I would describe the album as a dark, witchy journey that has a bunch of breakbeats and atmospheres. Yes, a lot of it is 140 bpm so if people want to label it as dubstep I get that, but it takes inspiration from a lot of music in and outside of electronic music: trip hop, dark wave, breakbeats, jungle, and life !
Where would you say you drew inspiration from in these tracks? Some of them are quite experimental and out there, definitely pushing the bounds of even less conventional bass music.
I think the inspirations are life-long: it’s bands like Depeche Mode’s industrial clangs from their older works, or The Cure’s atmospheres and darkness and the beats and samples from 80s hip hop or Pretty Hate Machine from Nine Inch Nails. I’m also thinking of 90s acts like Lamb or Massive Attack, and more currently Vaccine (RIP), Seba, Paradox or Photek that offer that darkness but also heavy beats.
Your main collab on this album is with Johnette Napolitano for vocals on three of the tracks. What was special about them in the scope of the album’s concept and what do you feel they brought to the table?
There are three tracks with Johnette as well as one collab with Irrelevant called ‘Phantom.’ Irrelevant is one of the original Kokeshi artists who I signed alongside Lung based on hearing their music on Myspace. If you don’t know him check out his albums I’ll Be OK and Little Figurines on Kokeshi or his own imprint Absolute Loss. He brought his deep atmospheres to ‘Phantom’ so I am delighted how that turned out. Johnette’s vocals suit The Widow Project perfectly; what she was able to add to my instrumentals blows my mind and each track has a different message that sits in the sequence of the album in a way that adds meaning. For example, in ‘Walk Around’, if you listen to the lyrics: ‘don’t like me; Walk Around Me then’! ‘Mary in the Mirror’ and ‘Dorothy’ take it deeper as well. Her tone is just ideal for The Widow Project.
Sometimes annoying question, but seems relevant here since there’s so much diversity: what is/are your favourite track/s on the album and why?
That isn’t an annoying question at all its a question I’m delighted to be asked. I love all the tracks but at the moment I do have a soft spot for ‘Allegory’ because its so dark but at the same time, the beats make my booty shake and it just builds and builds. ‘Grief Notes’ is very special to me also and from the title you can imagine why. I love ‘Walk Around’ feat. Johnette as it’s stating so directly ‘What do you want from me? Walk around me’. I love all the tunes; if I didn’t they wouldn’t be part of the project. ‘Post Script’ is the end tune and it sort of a resolution or a sigh with some jungly beats to sum up the album and the journey.
You’re heralding the revival of your Kokeshi imprint with this album. Can fans of the label expect more releases in near future, or will they still be spread out? If there are new releases coming, any teasers you can give?
There will definitely be more releases in the next few months that sit alongside The Widow Project but I want it to be a surprise so follow the Kokeshi Bandcamp or my Alley Cat Bandcamp page to keep updated.
Any other upcoming stuff for either of your projects?
My remix of Uneven just came out so we’re been celebrating the feedback of that. I also have a collab EP that’s due out Spring 2025 which I’ll share more on later that’s not on Kokeshi, and more D&B projects as well. The Widow Project for me isn’t an ending to something; its a starting off point for what’s to come.
The Widow Project drops 7th November and can be streamed or purchased on multiple platforms by clicking here. If you’re in London and want to swing by the free album launch party in Peckham, all relevant info is here.