Deckard Croix - Marquis Verdigris w/Interview
Deckard Croix is a music recording artist who incorporates psychedelia, ambience, and musique concrete into most of his work. Put simply, Croix is a solo artist with a strong taste for lo-fi sounds and this is well-reflected in the music he creates. Today we are excited to share our thoughts on Deckard Croix’s album, Marquis Verdigris, as well as our interview with this talented artist!
Marquis Verdigris begins with “Inizio” which contains an almost spiritual soundscape that simultaneously feels epic; the track has a sound that reminds me of Western films and its overall distinctiveness helps it stand as a phenomenal album opener. “Oliveira” is in the two-slot and reminds me of The Beatles at their most psychedelic, though with that sound modernized and reimagined. There is an underlying powerful energy featured within this song that I, admittingly, cannot find a way to aptly describe but I recommend checking this one out for yourself to see if you feel it, too. “The Future is Hieroglyphic” follows, opening with some of Croix’s best melodic work on the album before giving way to a more desolate sound. I think this song is one of the best on the album at showing Croix’s creativity and distinctive taste and it is one of my personal favorites from this project.
“Vegetable Television” is the fourth song from Marquis Verdigris, leaning into a very cool modern psychedelic sound that kept me coming back to listen several times. The song closes in an almost scattered, haunting way that is also sure to stick with you. “Love Until the Edge of Doom” is next. Surreal and personal lyrics are the highlight of this song and the approach here is one that I found very intriguing. “Verdigris” is sixth and its haunting lyrics are absolutely moving. This is one of the strongest tracks from the album, showcasing Croix’s lyrical creativity and instrumental aesthetics in equal might in what is, overall, a very powerful song. “Kingdom of Revolution” follows and it continues the previous track’s approach of taking personal lyrics and perfectly fusing them with the instrumental; the melancholy guitar at the end of the song is absolute perfection. Both “Verdigris” and “Kingdom of Revolution” are absolutely incredible songs and are cannot-skip ones from this album.
“Cur Non” is eighth from Marquis Verdigris and it was during this song on my first listen-through of the album that I realized I had stopped listening for a moment after each song to really reflect on what I listened to, not something that even I often do while listening to contemporary music. The storytelling approach in this song’s lyrics in particular really just clicks and this one is undoubtedly one of my personal favorites. “Gentle Nudging” is the penultimate song from the album and the guitar work in this song absolutely carries the song. From a crunchy riff to open things up through a haunting solo toward the end of the track, my jaw hit the floor the first time I heard this song. It is incredible. “Praise the Almighty Nothingness” closes out the album and it provides a deeply intriguing soundscape that is easy to get lost in. The psychedelic delayed guitar work stood as a highlight and I kept coming back to sink into this splendid instrumental piece.
Now let’s jump into the interview!
How did you get your start in music? Who were some of your early influences?
I began playing lead guitar for a number of tribute bands in my late teens before writing original work. And that was also around the time I began learning the recording process, so songwriting and recording have always been linked for me. Early influences stemmed much from krautrock guitarists like Michael Karoli and Manuel Gottsching, but bands like The Fall and Cabaret Voltaire were pretty significant as well.
You are a solo musician who sometimes works with other artists. What do you find most rewarding about working on a project by yourself? What do you like about working with other artists?
Working on projects alone really allows the approach to remain singular. I tend to be less structured and try to focus on it being appropriate that there are no (or few) other musicians on the project. Working with other musicians means more unfamiliar ideas (which is ideal) and I try to take advantage of having multiple musicians in the studio often vying for live communal takes. Certain projects seem to benefit differently depending on how many people are involved and how it's recorded.
We listened to your album, Marquis Verdigris, and found it to be sonically eclectic and quite thought-provoking. What can you tell us about the writing and recording process for this project? Did you have a specific goal in mind at the outset of the project?
Marquis Verdigris was recorded predominantly in 2016, undergoing many changes in the following seven years. Originally it was to be a double album with 17 tracks. I took a break from it to work on other projects but over time it became more focused. There wasn't really a specific goal in mind beyond perhaps the concept of how individuals seem to infuse a caricature of themselves in order to be accepted by others. Several songs on the album explore that idea.
What are you most proud of when it comes to Marquis Verdigris? Do you have a favorite song from this project?
I'm proud of the musicians who worked with my odd suggestions at the time despite not yet knowing how it was all going to be edited satisfactorily later. More than anything though, finishing a project that has drug on for several years is an immense relief. Favourite song would probably have to be the most personal, Kingdom of Revolution.
What's next for you and your music?
The next album is a reissue titled Postnatal Noise Cocoon, a collaboration with a Philadelphia-based band, released in 2011. It's quite similar in tone to Marquis but I didn't write all the music so there's a bit more playfulness I think. Still very psychedelic with more folk undertones and a bit broader in the blending of musical styles.
Apart from that, I have an ongoing narrative/ambient series titled Anorak Arts which features various works of authors in the public domain (including HP Lovecraft, Franz Kafka, and Edgar Allan Poe to name a few). New releases there periodically.
After the interview, I feel like we have a better idea about the motivations behind Deckard Croix’s powerful work - insight that I consider very valuable. This artist has a very artistic and aesthetically deep approach and I feel like it is a true one of a kind experience to really listen to the lyrics and live in the soundscapes provided throughout the entire runtime of Marquis Verdigris. I do not think this album will hit the same for everyone, but I do think that listening to it will provide some unique perspective and an overall enriching experience.
You can keep up with Deckard Croix through his website. We have Marquis Verdigris embedded below through Bandcamp and you can also find the album on YouTube!
