Isaac Dunbar Breaks Down Banish the Banshee EP Track by Track: Exclusive

The post Isaac Dunbar Breaks Down Banish the Banshee EP Track by Track: Exclusive appeared first on Consequence.

Through our recurring Track by Track series, artists can share exclusive insight into every song on their latest release. Today, Isaac Dunbar breaks down his new EP, Banish the Banshee.

In the midst of graduation season, one can’t help but reminisce about when they were entering a new season of life. For Isaac Dunbar, today marks a sort of graduation. The impressive 19-year-old singer celebrates a new explosive era in his sonic journey by introducing his latest EP, Banish the Banshee.

“Sunburn,” the opening track of the project is perhaps the most hypnotically dazzling song, showcasing a steady bass beat that is equally unpredictable and biting. While “Sunburn” remains one of the standout songs in the collection, “Fools Paradise” marks the more lyrically-driven part of his EP, poignantly creating a soundscape that feels larger than life while still remaining cuttingly personal.

While each track mimics a portal that transports the listener into a vibrant painting of Dunbar’s skill, the common theme that threads each song together is the idea of unapologetic rebellion. “Bleach” sets the tone early, when he sings, “I left my lover/ I’m a classic sign of self-sabotage/ A monster dressed in your mirage/ Once I said I loved you/ I ran away,” showcasing the lack of control that anyone has over the 19-year-old.

The same ideas of rebellion and lack of control appear again in “Gummy.” The song snarls and bites, tapping into the whimsical chaotic landscape that Dunbar has mastered over the years.

Yet another captivating EP, the 22-minute compilation adds to the unique collection that Dunbar’s discography offers, leaning into the eccentric playfulness for which he has been adored. He doesn’t take himself too seriously and isn’t afraid to explore new themes of self-discovery. The project marks his growth since his last release and serves as a reminder that the artist is still defining his space within the sonic universe.

Listen to Banish the Banshee below while reading the inspiration behind each track.

Dunbar will embark on a North American tour behind the EP in June. Pick up your tickets via Ticketmaster.

“Sunburn”:
I started this song at the top of 2022 with the aid of inspiration I had for the new year. The muse for this song was the bass synth. I laid that main note sequence down in midi and wrote the whole song in one sitting. I was very inspired by the ‘80s in this one.

“Bleach”:
I started writing this song in 2021. The floodgates opened in my mind for the concept after I laid down the strings. It’s lyrically about rebellion, self-sabotage, and chaos. I think the production of “Bleach” is also rebellious and chaotic because it’s baroque pop and disco. I felt very free and out of the box making it. The lyrics are rebellious and so is the production! I love it.

“Gummy”:
“Gummy” is one of my favorite songs production-wise on the project. The moves I made with this song felt very instinctual, combining punk elements and ‘80s synth pop with that superstar bass. It started with that distorted double-tracked bass guitar and drum loop.

“Money On That”:
My favorite song on the project. It was the first to be made. It started with that drum groove, it felt anthemic and tribal. I then added the Juno Celeste, and that made the song feel very sensual and suave. When I write, I usually let whatever comes to my head serve as great importance in my songwriting.

The first thing I heard was “it’s not easy being this pretty,” so I wrote that down, and suddenly before I knew it, I wrote the most toxic and selfish song ever! I then asked myself, “Why did I write this song? Where did this come from?” In that, I realized that a lot of the themes I talk about in “Money On That” are about certain ways I protect myself, and the song is about emotional detachment. Whether or not this song is uplifting is up to the listener. If deemed that it is not, learn from the banshee’s lesson.

“Tainted Love”:
I love this song so much. The chords are derived from “Trois Gymnopedies” by Erik Satie. I turned those chords into a disco record, and I love it. It’s about how easy love can turn into hate and hate can turn into love. It’s about the flip-floppiness of things.

“Fool’s Paradise”:
I started this one about a year-and-a-half ago, starting with that main piano line you hear. I laid that down in midi and wrote everything except for the chorus. I then finished writing it this year and re-recorded all the vocals because I hated how I sounded in the demo.

This song I produced mostly myself, I worked really hard on the ambiance and all the layers on this one. For some of the songs on this record, I would produce a song and, in my head, I would think it was finished. But I then would hand the song to JT Daly, and he would usually take out little things. Sometimes I add too many layers, and I like how he simplifies my records. He has a great ear. Anyways, “Fool’s Paradise” went through that process.

“Banish the Banshee”:
This was the last song I made. It was inspired after I watched The Sound of Music for the first time. I stayed up for two days straight writing it. This song is supposed to be a play about my life. I spill all the beans. I wanted my listeners and new listeners to get a better sense of who I am and where I come from, and in this song, I talk about everything. It’s also the villain arc of Banshee, my alter ego.

“This Is an Intermission”:
Originally, “Banish the Banshee” was a five-minute song, but I split it at 3:30. The intro section was freestyled and I thought it was funny so I kept it. After the speaking section, I then sing and I wanted it to sound like a duet between a man and a woman in a Broadway theater.

Isaac Dunbar Breaks Down Banish the Banshee EP Track by Track: Exclusive
Kelly Park

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