British/Bahraini psychedelic folk duo Straylings make a triumphant return with 'American Kid', the enchanting first single from their anticipated third studio album 'Call Back Your Name'.
Like a sun-drenched mirage on a desert highway, 'American Kid' emerges as a gorgeous homage to the golden age of Fleetwood Mac, transporting listeners straight to the heart of 1970s California. The track weaves its spell through Dana's bewitching vocals and shimmering tremolo-soaked guitars, creating a dreamlike atmosphere that hovers between nostalgia and timelessness.
In an exclusive chat about their upcoming album, Straylings opened up about their inspirations, suggesting that 'American Kid' is just the first taste of what promises to be their most captivating work to date.
Your new single 'American Kid' has been described as having a "Stevie Nicks on a road trip sound." Can you tell us more about the inspiration behind this track?
Songs seem to have a way of winding their own way into the world somehow, this track sounded quite different initially , more folky and stripped back. I guess that restless quality was always inherent at the start, which was then echoed in the lyrics. In turn we developed the production in a way that rhythmically and sonically echoed those ideas.
'American Kid' showcases a blend of 60s and 70s rock, psychedelia, and folk rock. How do you approach combining these different genres in your music?
We both share similar musical influences, and didn’t have a preconceived approach to making these tracks really. A lot of it is the production choices that are probably subconsciously inspired from many artists, a lot of 60s and 70s folk rock, maybe a little of the post-punk energy in there as well.
Dana, your vocals are highlighted as being both intimate and commanding. How do you strike that balance in your performance?
The thing thats great about recording vocals, is that you don’t always know what energy will actually manifest, there’s usually a surprise when you listen back. You can be striving for a certain performance in one case, and then when you listen later it can have quite a different energy. There is so much thats not in your control really, and it’s good to surrender to that sometimes.
Oliver, can you share more about the guitar work in 'American Kid', particularly the use of tremolo effects?
For American kid, much of the guitar work was about adding a sort of panoramic width to the track to contrast the more jagged acoustic riffs, and then the higher rhythmic motif that gives a sort of driving momentum. In terms of the sonic elements, tremolo is really only used in the middle 8 section for this track, where it’s also mixed with phaser - those two effects aren’t often used together but they have a very cool sound, which can add a kind of tension to the track.
Your upcoming album 'Call Back Your Name' was created during a period of retreat to the countryside. How did this change of environment influence your creative process?
We used to live in London a while ago, and that bustling energy seemed to influence us in a positive way at that phase in our life. We felt a draw to nature though, and the peace helped free up a lot of energy, enabling a deeper level of focus. Having less distraction gave us space to engage more directly and get a wider perspective while working on the record.
You made this record entirely on your own. What were some of the challenges and rewards of this approach?
The main challenges were mostly the length of time it took to finish the record, because you’re in this bubble for so long, trying to hear things with fresh ears and maintain an open approach, which then presents some other setbacks with the momentum. Our good friend Levi played drums on many of the tracks, and it was great having him at points in the process to refresh or reset the energy. In terms of rewards, I’d say just that we managed to complete something we’re proud of sonically, that’s remained very true to ourselves and the ethos of the record.
Dana, your Bahraini background is noted as bringing Middle-Eastern influences to your music. Can you elaborate on how this cultural heritage shapes your songwriting?
Growing up in Bahrain, there were lots of disparate musical influences like the US navy radio stations playing Al Stewart and Cream, then you had the soundtrack of Bollywood movies blaring in the background, alongside the more traditional Arabic songs of the day. Although not direct influences on the sound and production, a lot of that varied landscape has somehow played a part in the writing and melodies.
Oliver, your guitar work is compared to Fairport Convention and Mazzy Star. Who are some of your biggest guitar influences?
There are many of course, but for his breadth of creativity, particularly the less heavy side of his playing Jimmy Page is up there. Similarly the complexity and beauty of Nick Drake’s playing, and some other players like Peter Green and Duane Allman who have a rare sensitivity that comes through in their playing.
The album explores themes of isolation, integrity, loss, and reorientation. Can you tell us more about how these themes are reflected in your lyrics and music?
Even before writing the album there was an underlying feeling of taking notice of unconscious external influences, that can somehow push or contort your choices in the wrong direction without being aware. To us ‘Call Back Your Name’ is really a kind of invitation or call for re-connection in the modern age, resisting the urge to check out and disconnect from the things that nurture and define us.
After taking a step back from the scene, what motivated you to return with this new album?
It somehow didn’t feel like a choice - the songs that we had been writing were the motivation, and we felt these were different to what we had done previously and it just propelled itself forward.
‘American Kid’ is out NOW, stay tuned for their third studio album release on 6th December.