Coilguns: "We choose every person we work with, and they choose us in return"

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When Coilguns released their incredible new album, "Odd Love" back in November, it was immediately clear that we were dealing with a sweeping musical passion project. The post-hardcore band from Switzerland, already boasting an impressive discography, delivered its finest moment yet-one of the best albums in a scene that has been boiling over lately. The signs, though, were already there, as in early 2024, Coilguns and Birds In Row devastated us with the phenomenal "You & I In The Gap".

Taking into account the distinctive character of the eclectic Humus Records-the brainchild of the band’s mastermind, Jona Nido-as well as the upcoming full live performance of "Odd Love" at Roadburn 2025, we reached out to the band for an interview. When the group collectively answered our questions, we came to understand the full extent of their remarkable artistic vision.

From these starting points to discussions on DIY, the pandemic, Trounce, the possibility of performing in Greece, and politically charged art, Coilguns reveal themselves in a storming interview!

Greetings, I am Apostolis and I welcome you to Rocking.gr! Congratulations on your new album! How’s the feedback been so far?

[JONA] Hey, Jona here. We've spent over two years working on this record, pouring our hearts into every detail, and people truly feel that commitment. It's not just about the sound, our technical skills, or the songwriting. What really stands out to most-both fans and the media-is the genuine authenticity that runs through the whole project. They pick up on it in everything: the album cover, the title, and the themes of the lyrics.

Even though we clearly aimed to take the band to the next level-a move that some might even call "selling your soul"-everyone senses that we're doing it on our own terms and in a healthy way. We're staying true to who we are while also revealing a new side of our creativity, and that energy inspires both the audience and the press to rally behind us. And honestly, that’s something really beautiful.

"Odd Love" comes five years after "Watchwinders". How much did you, both as people and as a band, change in the meantime? Was the compositional process any different this time?

(LUC) Well it took this much time mostly because of COVID. The pandemic had a pretty important impact on a personal level. We had so much planned before COVID hit and seeing everything stop so suddenly with no promise to start again really scared me and raised a lot of questions on what would my life be if I had to start over. I’m glad we almost came back to normality. The writing process was also affected and took a different turn from anything we did before. Jona would write some riffs/songs skeletons at home then send them to me. So I had to learn how to install a few mics around the drum kit and hook them up to an audio interface, learn how to work a recording software to record myself and then edit my takes. I would then send the others proper demos. This was a first in the history of the band, usually used to work within a very narrow time frame, urgently and altogether most of the time.

It’s as if I thought we had gathered all the ingredients for a Paneer butter massala, and then got tofu ramen instead

"Odd Love" was recorded in the esteemed Ocean Sound studios, and you worked with Grammy-nominated producers Tom Dalgety and Robin Schmidt. How enlightening were those experiences and in what way did they affect the final version of the record?

(LUC) Ocean Sound is such an incredible place! Its location, equipment (both on a technical and accommodating point of view) makes it a world class studio, plus getting to work there with Scott Evans made it even better. Personally, letting the mixing process in the hands of someone new was a big step. At the time I didn’t know who Tom was, I just knew some of the big names he worked for/with but none of them were really in the realm of the music I usually listen to. I had a hard time at first with his approach as it was so far from what I was used to with Coilguns, but with time and most importantly useful discussions with Jona and Louis, I was slowly getting the keys to comprehend his work. Took me some time and I still don’t agree with every choices he made on a purely esthetic level, but I finally came to accept the direction of the record as a whole and how it’s been beneficial to the songs. The good feedbacks we get since its release definitely tend to validate my opinion on this.

(KEVIN) On a purely personal level, they really took the songs in an unexpected direction which was tough for me to understand. After spending so much time and energy trying to form a mental picture of what these songs were "supposed to be" in their recorded form (whatever the hell that means), getting a result that was so different made me go through a ton. It’s as if I thought we had gathered all the ingredients for a Paneer butter massala, and then got tofu ramen instead. I like tofu ramen, I’ve just had to convince myself that it was what the ingredients were for, or at least rewire my brain to think that the final dish wasn’t for me anyways. And all the feedback we’ve gotten so far couldn’t be more enthusiastic.

If I am not mistaken, it was during the same sessions, that the concept of Trounce’s debut album, "The Seven Crowns", was born. How was the experience of performing the album in its entirety in front of the Roadburn audience? Personally speaking, since I was there, it was one of the most intense and absorbing performances I’ve witnessed in a long time.

How challenging is the fact that you are about to do the same with "Odd Love" in Roadburn 2025?

(LUC) It was a great experience and I’m glad I was part of it. As you may have seen we didn’t play it exactly like it is on the record, and it’s mainly because of me :) I didn’t record the drum part, Axel Vuille from the band Icare did, and the man is as close as it gets to a blast beat machine. We played a few songs as they were but I certainly wasn’t able to play all of them at such high tempi, so I had to trick my way into the songs, sometimes re-write the whole drum part. We also did a fair part of re-arrangements and even write new material to accommodate the line-up Jona picked to play show. Personally I feel like it ended up being pretty cool alternate version of the original.

We haven’t started practicing the entire Odd Love set yet but it sure is gonna be as challenging as it is exciting!

We’ve been talking (with Birds In Row) about doing another big studio session this year

Earlier this year, you released one of our team’s favorite Eps, your collaboration with Birds In Row, "You & I In the Gap". How did this connection came to life? Should we expect anything similar in the future?

[JONA] Birds In Row is a band we met in 2017. We played together and got along very well. In 2018, we went on tour with Ken Mode and Birds In Row, and our bonds grew even stronger-it’s truly like family.

Over time, we developed strong connections. For example, I released Quentin Sauvé’s (bass player in Birds in Row) latest record on my label, Humus Records. The idea to create a joint EP came from the French magazine Mowno, which offers stunning editions of hardcover book accompanied by 7-inch vinyl records featuring exclusive tracks. They proposed a split since Birds In Row had just released their latest album, "Gris Klein", and we were also in the studio.

Neither did we have any extra material, so we decided to spend a week together writing and creating not just a split, but a genuine collaboration. It happened naturally, simply because we deeply appreciate one another and get along very well. We would love to take this to a live setting. In order to do that, we’d need to create an extra 25 minutes of music. We’ve been talking about doing another big studio session this year, not sure if it’s realistic yet but everybody would love to do it!

Over the course of twelve years, Humus Records grew into a real thing, and we've put out 150 records

You are an integral part of Humus Records, an eclectic underground label with an incredible roster. Would you like to guide us through the label’s modus operandi and philosophy?

[JONA] Humus Records was created in 2012 to put out one of Coilguns’ first EPs, the split with NVRVD. Back then, three labels were interested in releasing it, but we needed a fourth to share the costs. So we decided to start our own label, which gave off a "professional" vibe, even though it was really just us.

At first, the idea was simply to represent Coilguns’ artistic interests. Back then, in the french-speaking part of Switzerland-it felt like there was a real need for labels, especially some that would help develop emerging artists. Even though we didn’t really know how to do it at the beginning, we had both the time and the drive. Pretty soon, some awesome local bands came to us about releasing their records, and despite our limited budget, we had plenty of time to invest. Over the course of twelve years, the label grew into a real thing, and we've put out 150 records, turning this whole adventure into a proper job.

When it comes to picking artists, I’m the one mainly handling the artistic direction and day-to-day operations. We started off working almost exclusively with friends and people we knew-mostly Swiss artists. Sure, we have a few international acts, but our main focus remains on Switzerland, where we can really make an impact.

I get a ton of submissions and listen to everything that comes my way, even though it can take weeks or even months to get through it all. I can’t always reply back because it would take forever. We also make it a point to follow our current artists closely, which means we have to limit new signings so we can support them properly. I mostly go with my gut feeling and keep an eye on what’s happening in Switzerland, personally reaching out to bands when I really dig their work.

Not everyone’s meant to be a social media superstar

How does hardcore’s D.I.Y. ethos resonate with you, up to this day? What would you advise a younger, upcoming underground band that draw their first stapes in this day and age?

[JONA] I mean, DIY is how we built everything. It was the vision that drove us to handle things ourselves and be completely proactive, doing as much as we could. That freedom to do things our way is something I'm really grateful for. Running everything yourself-with your friends-just makes everything easier, whether it’s meeting deadlines, planning releases, or just handling the day-to-day.

Sure, we might benefit from the exposure of a bigger label, but after seeing countless contracts over the years, for a band like Coilguns there’s hardly a better deal out there-at least, I'm still waiting for it to come. We’ve got fantastic international management, several bookers in different territories, and killer PR agents, so there’s really no setback on that front.

We choose every person we work with, and they choose us in return. It’s the healthiest kind of professional relationship you can have. I also believe that doing everything yourself helps you understand and appreciate the work of others when you eventually bring them on board. On the flip side, knowing what the job entails means you can quickly tell if a new partner is doing good work or not.

For 98% of people and artists, it takes years before reaching any kind of international impact

Managing Coilguns from the start and being on tour helped me pick up skills that people now hire me for-all thanks to sticking with a pure DIY philosophy.

These days, it might sound cliché, but the most important thing is: don’t let platforms and algorithms dictate your art. Stay true to what you feel is right and keep it natural. Not everyone’s meant to be a social media superstar, and if you overdo it and come off as fake, people will notice-and you won’t get anything out of it.

Maybe to please the platforms it’s better to write two-minute songs, and if that’s your thing, then go for it! But if you’re into writing ten-minute prog tracks, then that’s what you should do.

And lastly, not everything is going to go viral. For 98% of people and artists, it takes years before reaching any kind of international impact. So yeah… do your thing, keep at it, stay true to yourself, and be patient.

Νothing you hear on the record hasn’t got the 100% approval of each of us

Let’s get back to "Odd Love". First of all, how did you come up with this whistling melody in "Placeholders"? What is this song about?

[JONA] When I first wrote this song, it already felt different from anything we had done before. Somewhere between corky and emo. When it the instrumental track was sent to Louis, the first version he sent back had already the whistling and for him this felt like it was the chorus when it was not composed with this perception. Everybody was a bit unsettled but it only took a few more listens before completely fall in love with this gimmick. This is the goal of being in a band. helping each other pushing your own project’s boundaries thanks to the fact that we all perceive our music in a different way. Ιt’s important to note that nothing you hear on the record hasn’t got the 100% approval of each of us.

This is my personal interpretation of Louis’s lyrics of Placeholders. I believe they explore the blurry boundary between truth and lies, leaving us disoriented and searching for a raw, untamed paradise. We intentionally keep things open so each listener can weave their own story. Our aim is to spark personal reflection rather than impose a fixed meaning.

I love that Louis’ lyrics never become lectures or sound preachy

Among the many things that come across during the listening sessions, I have a sense that "Odd Love" also explores the relationship with the music industry, while taking into account broader societal issues. Do you consider yourselves a political band?

(KEVIN) I believe all art is political by nature. We have songs that are more openly leaning towards what one could consider a political message, but I love that Louis’ lyrics never become lectures or sound preachy. He writes about us as a group and individuals, how we are affected by the world in its current state. I feel that this fills his lyrics with sincerity, and even though the album only came out a few weeks ago at the time of writing this I’ve already had several people comment that they relate with what he wrote for "Odd Love".

For the main riff in "Bandwagoning", I remember asking myself ‘what would Raphaël Bovey do ?’

"Odd Love" also showcases elements of post-rock/metal, even more experimental breakdowns, along with pure thrashy riffs, such as that in "Generic Skinkare". Are there any particular bands that you look up to and have influenced your personal sound?

(LUC) All the riffs, parts or songs usually come from Jona, he would then send them to me. On a very personal level, I just dug in anything that would give me a direction to write my parts and fit Jona’s ideas. To give you some context : for the main riff in Bandwagoning, I remember asking myself ; « what would Raphaël Bovey do ? » - Raphaël was the drummer of swiss mighty heavy legends Kruger.

And from there I just try to somehow sound as close to what I think he would do…. Then the process varies from one song to another, the inspiration can come from any bands/drummers or atmosphere I can relate to in the moment. Some songs/parts write themselves though, I just hear the riff and the beat or the idea of it comes to mind right away. This scenario can also make me challenge it and try to go in the complete opposite direction, sometimes it pays off and sometimes not.

Furthermore, Luis Jucker’s vocal performance is phenomenal. How do you come up with the vocal lines and in which ways do they affect the recording process of a song?

(KEVIN) He’s an outstanding vocalist. A lot of what you hear on the record is actually live takes. He manages to harness raw, collective energy into vocal performance like very few vocalists I’ve heard. And he comes up with ideas that can totally flip a song upside down for the better.

Would you like to also name me some non-musical influences of the record?

[JONA] Love, friends, companion ship, having the gut feeling you’re doing the righ thing though you’re still unsure why you do it.

I feel that 2024 has been incredible for music. Would you like to share with our readers your personal best of the year?

(LUC) Yes I did have a few massive crushes on 2024 releases. My top 3 would be :

• Beak> - ">>>>"

• Oranssi Pazuzu - "Muuntautuja"

• Fontaines D.C. - "Romance"

Then it didn’t come out this year but I really got into « Agriculture »’s self-titled album.

(KEVIN) The first album that comes to mind for me is actually not new AT ALL but I only found out about it this year and it blew my mind. It’s "Demure" by Engine Down, it came out in 2002 and no one gave a damn about it. I love everything about this record. "The King of Misery" by Daudi Matsiko is a fantastic record for soft, intimate and incredibly beautiful singer songwriter stuff. If you like 90s-style rock, I saw a great band from Leeds called Lozenge open for some friends of mine. They released an EP called "Blink Into Nothing" that sounds exactly like the squat show I saw.

[JONA] My 3 albums of 2024 (not necessarily released in 2024) were

• Clary Ysé - Oceano nox

• Arca - Kick ii

• Rosalia - Motomami

Final question, and I would like to thank you for your time! Where do Coilguns go from now on? Any future plans you would like to share with us? I hope we manage to witness you live here in Greece! The epilogue is yours!

[JONA] We’ve just announced about 30 shows until end of June including playing Odd Love in full at Roadburn Festival, many headline shows but also support shows with Thrice. There are many more to come and YES, we would LOVE to come to Greece. Greek promoters : GET IN TOUCH!

Photo credits: Andy Ford