In a world where upbeat rhythms and introspective lyrics collide, Child of the Parish crafts music that invites listeners to dance while reflecting on deeper emotions. The duo’s unique blend of psychedelic disco, house influences, and darker thematic content sets them apart as innovators in the modern music scene. With the release of their album Sweet Surrender, they explore themes of insecurity, personal growth, and navigating life’s uncertainties. From revisiting old French house records to reflecting on social media’s impact, Child of the Parish brings a thoughtful yet playful energy to their sound.
In this interview, they delve into the creative process behind standout tracks like “Good For Nothing,” their influences ranging from Daft Punk to Patrick Cowley, and the balance between crafting infectious beats and storytelling. Join us as we step behind the curtain and explore the world of Child of the Parish.
“Good For Nothing” is described as a track about insecurity and self-doubt. Can you delve into the personal experiences that inspired these lyrics?
*”Good for Nothing” is a bit more lighthearted than that—it’s actually quite tongue-in-cheek. Tom initially worked on the production, and when I write, I often come up with the chorus first. In this case, I had the ‘good for nothing’ part down, and then had to work backward to find deeper meaning for the verses. It felt like something an angry partner might yell at their other half! So, I imagined a story about a guy who feels useless compared to ‘better’ men. One of my favorite lines is ‘some boys work out and read…’. But, to be clear, it’s all made up—I’m sure my partner would confirm I’m perfect!*
The song’s production features a “juddering stop-start rhythm” that complements its themes. How did you approach the production to mirror the lyrical content, and what challenges did you face?
The slightly wonky feel of the track, with Tom’s hand-timed synth parts, gave it an organic, not-quite-locked-in rhythm. That inspired me to do something fun with it. I wanted to play around with layered female vocals—I love how acts like Basement Jaxx use freestyle vocal elements from different singers, and that was a big influence here.
Your music blends psychedelic disco with darker lyrical themes. How do you maintain a balance between these contrasting elements, and what draws you to this combination?
I tend to think of the music and lyrics as existing in different worlds. One will naturally influence the other to some extent, but I’ve always loved bands that juxtapose upbeat sounds with more introspective lyrics—Vampire Weekend and Phoenix come to mind. Sometimes, the lyrics are more free-associative, following the vibe of the track. Other times, there’s a clear story, though it may only be apparent to me.
‘Good For Nothing’ was one of the most fun tracks to create. What was the most enjoyable part of the production process, and how does this track differ from others on the album?
I revisited some old French house records from labels like Roulé and Crydamoure, as well as Todd Edwards’ work. I love how they use tiny snippets of different samples—sometimes just a note or half a second—and create something entirely new. I experimented with this technique, but clearing samples would’ve been a nightmare. So, I used sounds from available libraries that had a similar vibe. This track stands out because it started with a loop rather than the usual bassline, chord progression, or melody. It was all about making something fun and repeatable without it getting boring.
Social media is mentioned as a source of insecurity in ‘Good For Nothing.’ How has social media influenced your music, both positively and negatively?
*If I could press a button and erase social media, I would—it’s definitely made the world a worse place in many ways. That said, it does exist, and there’s no getting away from it. As much as I dislike it, I can’t deny that if I’d had access to it when I was 13 and obsessed with Blur or whoever, I’d have been all over it. It brings you closer to your fans, but it should have no place in politics. The hate and misinformation on it today are genuinely worrying.*
“Sweet Surrender” explores themes from the naivety of youth to lessons learned in adulthood. How did these themes develop across the album, and which tracks feel most personal to you?
The album started more like a mixtape—we had old tracks we’d been sitting on for a while and new ones that didn’t quite fit with our earlier material. But we loved them all, so we decided to release them. As the project came together, we realized it was too special to just be a mixtape—it needed to be a proper record. Some of the more personal songs are “Sweet Surrender,” “Swim With the Tide,” and “Floodplain.” They touch on drifting through life without direction, which I think is a universal concern.
You cite influences like Patrick Cowley and Daft Punk. How do these artists shape your sound, and are there specific techniques or ideas you’ve borrowed from them?
We’ve always liked incorporating chopped-up sounds and filtered sections, like breakdowns and build-ups—a standard technique in house music and something Daft Punk does really well. It gives the chorus or drop more energy when it comes back in. Some of our music also has a late ’70s/early ’80s disco vibe, when synths started replacing orchestral arrangements. Patrick Cowley was influential in that shift, and his ability to create lead lines and great synth sounds has definitely inspired us. We put a lot of effort into our synth sounds and hooks, so I’d say that’s where we’ve been most influenced.
Your journey as Child of the Parish began after a weekend at Glastonbury. How has your live performance experience influenced your studio recordings, and how do you translate the energy of a live show into your tracks?
Glastonbury has always been an influence, and that particular weekend was pivotal. I saw M83, LCD Soundsystem, Tame Impala, and Beck. I’d seen most of them before, but something about seeing them all in one weekend struck a chord. I’d just come off a downtempo project that split up, and watching these high-energy, colorful acts that blended so many influences I loved made me want to pick up the guitar again and dive back into making music.
Having worked with artists like Kylie Minogue and done DJing and film soundtracks, how have these experiences informed your work as Child of the Parish?
Every musical experience shapes you, and every person you meet has some influence on you. I only played session guitar on the Kylie record, but the producer was a friend who impacted me a lot. You go through peaks and troughs, but every song pushes you forward. The soundtrack work I’ve done has definitely influenced me, too—I almost always write my songs to visuals now. It’s a process I’ve stuck with for years.
With “Sweet Surrender” marking the beginning, can you give us a sneak peek into the new music you’re currently developing? What can fans expect next?
Right now, we’re not focusing much on new music, as we’ve just finished the album process. But I’ve been listening to more electronic music recently. I only just discovered the German producer/DJ Ben Böhmer, and I’ve been really enjoying his stuff. So, maybe the next record will lean more toward house music—or maybe I’ll have moved on by then! I find it hard to sit still musically.
