Premiere: Deau Eyes Releases Propulsive Single “Paper Stickers”

On Tuesday, December 11th, intrepid local musician Deau Eyes will release her new single, “Paper Stickers,” a blistering track full of rock heroics and empowering dissension. Bold to say the least, the song solidifies Deau Eyes as one of the most essential voices in the Richmond music scene, and it’s a track we at The Auricular are proud to premiere below, along with all the details behind its origins and riveting execution.

Vigorously caustic, “Paper Stickers” is a phrenetic rock track overflowing with denunciatory quips, imposing vocal lines, and dynamic musical energy. Galvanizing in both music and lyrics, it flaunts the towering presence Deau Eyes effortlessly yields in front of a band and behind a mic.

With trenchant lines like “They’ll sell our hearts if we stop fighting for free” and “You make me tall / Don’t you dare think you’re alone,” it’s an assertive call-to-action that does as much to inspire as it does to astound, much like “Autonomy,” another track by Deau Eyes that was captured in a mesmerizing performance on RVATRACK back in August.

We talked with Ali Thibodeau, the mastermind behind Deau Eyes’ captivating siren sound, about “Paper Stickers” in order to get the story behind the gripping track, as well as get some insight into her own songwriting and some details on her forthcoming record.

What themes or feelings were you trying to convey when writing “Paper Stickers?”

“Paper Stickers” is about liberating 7 year old me. I had an experience with my niece where she was putting together “a play” in a Barnes & Noble and no one was listening or taking her as seriously as she wanted. She urgently stacked books on the floor as a part of the “set” and was writing lines and directing family members that weren’t cooperating.

She didn’t have much to go on but no person, opinion, or mess mattered in that moment; she was making her mark in there. The responses from everyone in the room didn’t match up with how she saw herself and I think that’s an infuriating and relatable feeling. I saw her batting off every cute-sy comment, every picture being taken, and I wanted to embody it in this song. Some of the lyrics are direct quotes from her in this moment: “turn off your phones, please no photographs… Why did you just laugh?”

Anyone at any age that has the fire to go after their art and express themselves is a certified badass. I never want her to accompany that need with a censor because she’s “just a girl.” It can be hard to be taken seriously when you’re expected to keep your dresses out-of-the-mud and smile for the camera. As she grows up she will be tried with more and more skepticism and it can really get in the way.

The lyrics of this song are very pointed, sharpened by the fast-pace of the music. Do you find this to be an accusatory song, or one that more just has an urgent narrative to it?

I think it’s more urgently assured and standing up for oneself with a couple accusatory quips. The fast paced-ness is almost like trying to win a seemingly impossible race and whatever flies out in the process shouldn’t hold too much weight. The narrative is really in the spirit of being a woman in this world; i.e. playing catch-up from years of not speaking up, batting off people skeptical of you or taking advantage of you, and being expected to not make a sound. This song wants you to stand up for yourself.

Your songs have some very weighty lyrics and some gorgeous melodies, which begs the question: which comes first? Do you write lyrics to fit melodies, or write a melody to fit around your lyrics?

It really depends on the song. Freedom of process is important for me and knowing there is never one absolute formula. Usually I’ll have a chord progression and mumble some vowels on a melody, get a rhythm, solve the lyric puzzle on paper for a while, then pick up the guitar again, and sometimes the melody has totally changed. The lyrics and melody really influence each other.

Your voice is very nimble yet also very powerful. Do you consciously think about which style to use at a specific time, maybe to create a soft/hard dynamic within a song, or is this a natural byproduct of how you write songs and vocal melodies?

Most of the time, though very autobiographical, I’m telling a story and playing a character in these songs which influences the vocal melody and quality. In this moment, [the character is] confidently pushing forward and simultaneously flipping her lid so it’s appropriate to have a vocal that’s kind of bursting at the seams — like a fluctuating tea kettle. There are also those bratty back-up vocals to support this outspoken, self-assured character. And in the intro I’m definitely speaking to [the character] before we take on the song together. Depending on the story, the vocals are meant to color in a particular perspective.

How did the recording process unfold?

It was originally recorded a demo in middle-of-nowhere Ireland at an Airbnb that included multiple layers of “Miss Mary Mack” style hand games, claps, and my own attempts at drums and acoustic/electric guitars. Needless to say, it was a very different vibe. I didn’t have the skill on my own to capture the energy I wanted but I’m glad that I tried.

For the final version, I had been home a few months and my roommates Lucy Dacus and Jacob Blizard invited me along to Trace Horse Studios to visit our friend Collin Pastore and record some stuff of their own. We ended up recording most of the instruments on my album in a day and another day for vocals and anything else we missed. Jacob wrote some pretty gnarly guitar parts for this tune in particular. The multi-talented Austin Webb is slappin’ the bass. I was going for a ‘60s beach party vibe with the drums and Jake Finch is a genius with marrying styles. We are all obsessed with him and his abilities to give you 9 different options for any general vibe, but he usually nails it on 1 or 2. All in all, Trace Horse is an amazing studio and a little piece of RVA in Nashville. Preston Cochran and Scottie Prudhoe run the place and they’re also Richmond natives.

And what can you tell of us of your forthcoming record?

I’m currently in the process of building a team and getting logistics sorted out so that I can reach as many people with my music as possible. But those [people] that donated to the Kickstarter will get a sneak peek. Keep your eyes open for new music, videos, and release dates in 2019.

Enjoy this premiere of “Paper Stickers” below, and make sure to keep an eye and ear out for Deau Eyes, though it may be hard to miss the big splash she will undoubtedly make in 2019.