Photography: Chloe Brover

Shaped by the big city sounds drifting across Newark Bay, Anna Kunz’s creative vessel is carving a fresh edge into Liverpool’s DIY punk scene.

If you had to describe your music/style in a sentence, what would you say?
Punk/garage rock ’n’ roll deeply rooted in traditional melodic songwriting.

Have you always wanted to create music? How did you get into it?
I grew up surrounded by the New York rock scene, my mom being one of the fundamental characters there in the 80s/90s as a talent buyer/venue booker. Making music came out of a necessity to express myself and then grew into something more identifiable (by art/sound, etc) as I worked on different mediums of art (be it graphic design, live performance, theatre, etc).

Can you pinpoint a live gig or a piece of music that initially inspired you?
Paolo Nutini at the Troc in Philly – somewhere falling on the edge of soul and gritty rock ’n’ roll with a pop melodic twist, all while holding the audience hostage in a ‘moment’. It was something to aspire to with certainty.

Do you have a favourite song or piece of music to perform? What does it say about you?
When The Horse Will Run. The track was one of the first I wrote without a band in mind, so it really can be played with just me and a kick drum and people will still dance, which I like. The track is derived from a poem I wrote about some past trauma and I think it is really incredible to see people dance/fight in a mosh pit/sing along to words that kinda haunted me for a while. It is a bit beyond catharsis – I’d say it’s some weird artistic release that I can’t quite describe.

"For me, music has always been more of a necessity. I need it to function."

What do you think is the overriding influence on your songwriting: other art, emotions, current affairs – or a mixture of all of these?
I just pull from whatever is around me. I like to spin stories based on titbits of information or things I’ve heard. I think if I try to write a song about what is happening in the world it will be disingenuous, so instead I try to speak my own truth and write using other peoples’ words when necessary. I don’t really write to perform, or perform at all really; I just get onstage and am a bit more present than usual. Stylistically, I am really influenced by blues musicians because I’ve always had a fondness for honest poetry and a good hook.

Do you have a favourite venue you’ve performed in? If so, what makes it special?
Probably 24 Kitchen Street. Playing there was kinda my first experience with something that felt like a DIY community in Liverpool, but it was still really well put together. Great sound, amazing space and it is so conducive to having a boogie or throwing yer mates to the ground.

Why is music important to you?
For me, music has always been more of a necessity. I need it to function. I used to say that some people feel natural speaking and I felt natural singing – it is my first language. I consider music to be the common ground between most people and to be a fundamental medium for expression. With it, I can be articulate and multi-dimensional in my responses. Without it, I feel disadvantaged in conversation. I consider the writing process to be somewhere between sacred and communal; it is the point between sublime art-making and absolutely ridiculous collaborative work.

tortureandthedesertspiders.bandcamp.com

Money is available from 26th September with the band’s debut EP, Field Recordings Of A Social Athlete, released in November.

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