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On ‘Funeral Soundtrack #4,’ Destroy Boys show signs they’re really just starting to live

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On 'Funeral Soundtrack #4,' Destroy Boys show signs they're really just starting to live

As a dedicated fan of Destroy Boys, I have witnessed their remarkable journey from humble beginnings to global success. The band’s evolution over the past decade has been nothing short of inspiring, and it’s truly amazing to see how they’ve grown both musically and personally.

Following almost ten years and four studio releases, Destroy Boys find themselves at an intriguing point in their musical journey. The original pair, vocalist-guitarist Alexia Roditis and guitarist-vocalist Violet Mayugba, have been managing the bilingual, LGBTQ+ punk rock group since their adolescence. They’ve traveled the world numerous times, graced big stages and prominent festivals alongside their idols, and organized several annual events called Destroy Fest, which showcase their friends’ talents.

The band seems to have found its rhythm only after the COVID-19 pandemic ended, despite this fact.

The journey began when bassist David Orozco joined the band for the release of “Open Mouth, Open Heart” in 2021, locking in its rhythm section. This momentum carried them to securing prestigious festival slots at Chicago’s Riot Fest and Lollapalooza, as well as opening for Blink-182 during their grand comeback tour. Last year, Roditis and Mayugba decided to relocate from Sacramento to Los Angeles, partly because it offered them easier access to industry contacts and resources for the burgeoning group.

Indeed, the quartet, featuring drummer Narsai Malik, has significantly evolved musically over time. They’ve moved past the days of Mayugba’s basic power chords and Roditis’ near-spoken-word growl on their early hit “I Threw Glass at My Friend’s Eyes and Now I’m on Probation.” Their song “Open Mouth, Open Heart” demonstrated a significant leap in their musical capabilities, with tracks like “Escape,” “Ruins,” and “All This Love.” They continue to expand upon this foundation with their latest release, “Funeral Soundtrack #4.”

“We don’t usually plan what we create, we just go with the flow,” Mayugba explained, gathered at a classic diner booth with the band at Cindy’s in Eagle Rock. “Carlos [de la Garza, producer] helped make our process more efficient because he has a unique sound and understanding of pop music. I also believe that as we grow older, we start to listen to different bands instead of just Green Day.”

On 'Funeral Soundtrack #4,' Destroy Boys show signs they're really just starting to live ×

Roditis shares, snuggled between guitarist-drummer Malik, “I’ve found myself immersed in a lot of Latin folk tunes, so much so that at times, I crave nothing but these melodies.” He further mentions, “Occasionally, I get drawn to bossa nova, only to switch gears and listen to Chappell Roan or girly pop music instead.”

Although “Funeral Soundtrack #4” may not showcase it directly, Roditis’ evolution as a vocalist and composer is evident when comparing one album to another. Similarly, Mayugba’s singing and guitar skills improve over time, and so does the emergence of their revamped rhythm section in their music.

The blend of elements results in the latest Destroy Boys album exhibiting a more diverse and intricate sonic and aesthetic profile compared to their past projects, thereby underscoring the reason “Shadow (I’m Breaking Down)” served as their inaugural single to appear on a Billboard chart.

Apart from the highly anticipated duet “You Hear Yes” with Marisa Dabice of Mannequin Pussy and Kat Moss of Scowl, most of the album was released gradually as singles prior to its release on August 9th. This allowed fans a sneak peek into the revamped Destroy Boys sound for days, weeks, or even months before Hopeless Records unveiled the complete LP.

As the band embarks on a European tour this month, followed by one across North America in the fall, they’re eagerly anticipating the response from fans as they perform some of their new tracks.

“Orozco shares his excitement about the response to the songs, particularly ‘Muzzle’ and ‘Should’ve Been Me’, which he predicts might drive people into a frenzy due to their fast tempo.”

As a dedicated cinephile, I can tell you that this piece is brimming with spine-tingling effects. To amplify the eeriness during our live performances, we’ve incorporated an assortment of haunting sounds such as sirens, muffled voices speaking in tongues, and similar elements into a compact MIDI drum. I believe it will create a genuinely chilling atmosphere when performed live.

“Roditis expresses eagerness about trying out the game ‘Boyfeel’. He’s eager to experiment with it and discover its potential. He hopes it will evoke strong emotions, perhaps even tears from the players.”

In “Funeral Soundtrack #4,” we’ve reached a refreshing, personal milestone as a band. Unlike our previous work, such as “Open Mouth, Open Heart,” which was crafted amidst the uncertainties of our early twenties and grappling with questions about our identities and the essence of Destroy Boys, this album resonates with a newfound confidence and clarity. Each of us has grown more comfortable in our own skin, and it shows in the certainty and authority that permeate these tracks. It’s been quite a journey, and we’re grateful to have you along for the ride.

Although not a large number of punk bands have nonbinary singers who compose lyrics in both English and Spanish, the music scene and industry are becoming increasingly diverse and inclusive by the minute. They aspire that one day, the music world will cease to compare them with every other alternative band featuring non-male vocalists and musicians, but for now, they’re content creating their unique space alongside similar bands through events such as their Destroy Fest in Los Angeles, which took place at Bellwether in downtown L.A. last March.

“I’m really into the fresh wave of alternative music today, and I’m excited to help nurture it by organizing events like Destroy Fest. Let me tell you, that particular event was a blast!”

“As we were doing our final checks before performing,” Malik commented amidst his breakfast sandwich bites, “all the bands had already arrived, and wherever you looked, it felt like everyone was genuinely friendly.”

“Roditis remarked, ‘Backstage was full of friends.’ Every departure from the green room led to a five-minute chat with someone familiar. Our friendship is precious, and as we grow more successful, we can continue inviting our friends along. It’s far more enjoyable to perform when surrounded by acquaintances. The atmosphere is electric.”

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2024-08-12 13:31

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