A conversation with Night Wolf & The Fods

“Kickback” reimagines an existing track while preserving its original vocal identity. How did the collaboration begin creatively, and what conversations shaped the decision to rebuild the song into something entirely new?

The Fods: (Rob) We had the easy part. After the initial outreach, we just sent the track over and sat back. We had no idea what ws to come, nor did we have any expectations. We just left it up to the producer to do what he does best

N.W: The collaboration started through XRP Radio after I had heard The Fods and their music being played there. They were looking for someone to possibly remix some songs, so I offered to have a go. They sent me a few tracks and Kickback was the one that pulled me in straight away.

There was not really a big conversation about direction. They trusted me to do my own thing, which is dangerous really haha. I started with the backing vocals, looped and processed them, then it quickly became clear to me that this was not going to be a traditional remix. The vocals were strong enough to carry a completely new version, so I rebuilt the track around them rather than trying to force the original stems into a new shape.

The track blends trip hop, indie, pop and cinematic textures with a brighter, more uplifting mood. How did each of your individual influences contribute to creating that atmosphere?

The Fods: (Rob) The original vocal which Birch laid down transcends both the original version and the remix. I find that quite amazing that a rock vocal can be used so smoothly in the version in which its become

N.W: For me, I think my influence came from my love of trip hop, hip hop drums, downtempo music, darker pop and orchestral elements. I have always liked music that feels visual and takes you somewhere, even if it is minimal. I did not want this version to be too heavy or dramatic, it needed to breathe.
The Fods brought the vocal identity and the songwriting. Without that vocal and those melodies, this version would not exist. I think the indie side is still there through the voice and the original songwriting, but then my production pulled it into a more cinematic and chilled space. It became a nice meeting point between their world and mine.

For The Fods, what was it like hearing your original work transformed through Night Wolf’s production style, and for Night Wolf, what inspired the direction you took with the remake?

The Fods: (Rob) It’s a direction we wouldn't have thought to take, or wouldn't have the means to take it. You can clearly hear the original influence though the vocal,but the rest for us came out of nowhere. We were obviously aware of what Night Wolf produced when we started chatting, but even then, when we first heard it, it was a wow moment.

N.W: The direction was inspired by the vocals more than anything else. The backing vocal especially gave me this calm, reflective feeling, and I just followed that. I could hear the cello working with the voice quite early on, then the marimba added this slightly playful, lighter texture that helped the track not become too moody.
I did not want to copy the original or make it sound like a slightly different version of the same thing. I wanted it to be its own song while still respecting the vocal identity. I think that is what makes it work, it still feels like Kickback, but it has been dragged into my little world for a few minutesS

You’ve worked across film, television, sports broadcasts and independent releases. How does producing a track like “Kickback” differ from composing for screen projects such as Netflix, Channel 4 or the NFL?

N.W: When I am creating music for possible screen use or library placements, there can sometimes be more of a mindset of how it might sit against picture, how it builds, where the edit points might be, what kind of mood it serves. With Kickback, it started more as a song and collaboration, so the vocal had to lead the emotion rather than me thinking purely about a scene or brief.

That said, because I have had music used across Netflix, Channel 4, Sky Sports, NFL and other productions, I think that way of thinking is always somewhere in me now. I naturally make music that can feel cinematic or visual, but I try not to let sync dictate the song. Kickback still had to work as a standalone release first. If it also finds a home in film, TV, adverts or games, that would be fantastic and we are definitely pushing for that too.

“Kickback” feels cinematic, almost like a soundtrack to a moment of freedom or reflection. Was creating something visually evocative intentional from the beginning, or did that emerge naturally during the process?

The Fods: (Rob) The original kickback we always thought had a bit of a dystopian feel to it. Now the remix has given that a different direction. Both cinematic, but you probably wouldn't find both versions in the same film!

N.W: It came naturally. I am a very visual person when I make music, so once the vocal loop started working, I already had images in my head. It felt like a lonely highway, maybe a desert road, a small shack, warm light, that kind of reflective driving scene where you are thinking about everything and nothing at the same time.
I did not set out to make it cinematic, but I think that is just how I create. Even when I make a simple beat or a more minimal track, I still want it to feel like it belongs to a scene or a story. With Kickback, the vocals gave me the story and I just built the surroundings around it.
This collaboration came through online connections and radio exposure. What have you both learned about modern remote collaborations, and how do they compare to more traditional ways of making music together?

The Fods: (Rob) Apart from a small period of time when we were at school many years ago, and we used to hang out in rehearsal rooms in Warrington, we have always worked remotely. The tech now allows that. You don’t even need proper facilities or equipment. The most important thing is trust, and a lot of the time you are finding people on the net, or through music that you like which automatically gives a perception. If their music is great, they must be great people, which isn't always the case. On other songs we have struggled to get the right work ethic or sound out of people, and then there is tension, which rarely leads to a good tune. We have come across technical problems which we would never have envisaged even the smallest bands having. Doing this remix was a pleasant experience which makes a huge difference

N.W: Remote collaborations can work really well when there is trust. In this case The Fods just sent me the stems and let me get on with it, which gave me freedom to follow the idea without overthinking it. There was no sitting in a room debating every sound or asking for changes back and forth. I finished the track, sent it back, and luckily they liked it.

Traditional ways of making music together are great too, and I do enjoy working one to one with artists, but remote work opens up so many possibilities. You can connect with artists from different places and genres and just see what happens. The key is still the same though, everyone has to respect the process and be invested in the final result.
The track marks a shift toward a more laid-back, easy-listening energy. Did this project push either of you outside your usual creative comfort zones?

The Fods: (Rob) We always try to come up with a different sound for each song. If you have a look through our more recent stuff, it's quite diverse. This is by far the most diverse thing we have been involved with though, but as we have said, after we sent the song to Night Wolf, the direction it took after that was all him.

N.W: Yes, a little. I am used to making darker, more cinematic or emotionally heavy music, so it was nice to make something that feels more relaxed and lighter. I do not think it is completely outside of what I do, because I have always experimented with different styles, but it is definitely a softer side of Night Wolf. The funny thing is the lyrics are not necessarily all happy, so there is still that contrast I like. It is chilled and uplifting in one way, but there is still something underneath it. That balance is probably why it worked for me.

“Kickback” merges different backgrounds, styles and approaches into one release. What do you think each of you brought to the collaboration that the other may not have explored alone?

The Fods: (Rob) We would never have gone in this direction. It’s just not something we could do alone, or if we tried it would have been a mess. I am all in favour of remixes especially if they really turn a piece of work on its head and something different comes about

N.W: The Fods brought the song, the vocal character and the writing. That is the foundation. I would not have made this exact kind of track without those vocals being placed in front of me, because it came from reacting to their work.
I brought my production world into it, which is more cinematic, trip hop influenced, downtempo and built around atmosphere. I think together it created something neither side would have naturally made alone. That is what collaboration should do really. It should make something that could not have existed if everyone just stayed in their own lane.

Following this release, do you see Kickback as the beginning of an ongoing creative partnership, and what kinds of projects would you like to explore together in the future?

The Fods: (Rob) Absolutely, I would be disappointed if this was it. We are always looking to collaborate, we do that on our songs anyway, and having them remixed into something totally different is a natural extension of that. Finding the right people is a struggle, s its not a world we frequent, so we are lucky to have Night Wolf as a collaborator, and now as a frind.

N.W: Yes, I definitely see this as the start of more work together. The Fods are great people and talented artists, and I think there is a lot more we could do. Whether that is another remake, something built from scratch, I am open to it.

At the moment I am working through a lot with EscaVolt Records, music videos for the releases, promotion, my own back catalog, and the launch of No Paw Audio, my sound effect company. Once my whiteboard is a bit clearer and I can get back into full creative mode, I would love to do more with The Fods, Lois Powell and some other artists I have worked with before. I am always open to being pushed out of my comfort zone, as long as my back lets me sit at the desk long enough!

Night Wolf : @NightWolfUK
www.nightwolfuk.com
The Fods : @TheFodsBand
linktr.ee/thefods