Itās a cripplingly hot day in east London, and William Doyle couldnāt be dressed any less appropriately. His clothing isnāt much of a surprise ā the artist formerly known as East India Youth was defined as much by his suit-heavy wardrobe as his sultry, techno-infused electronica. But, tailored shirts and sweaty brows aside, thereās little telling that this is the same man. Heās all smiles and quick quips ā a world away from the stern expressions of his former guise.
Advertisement
Behind the big tours, Mercury Prize nominations, and brilliant techno excess of East India Youth, Doyle was wracked by anxiety, physically and emotionally ground down by a relentless schedule, and increasingly disillusioned with the person he saw himself becoming. āI was knackered,ā he starts with a laugh, before changing tack. āI think my ego started to inflateā¦ I was not being a particularly pleasant person.ā There were inward impacts, too: āThe month when Culture of Volume came out, I was having panic attacks, I was drinking far too much, my diet was terrible, we were playing shows a lotā¦ā With problems clearly mounting, and the project also encumbered with a āstupidā, potentially racially insensitive name that he was now written into contract with, something had to give. In March 2016, after one final show for friends and family, Doyle cut the East India Youth project loose and began the long road to recovery.A move to York soon followed ā one that he now smirks about. āI was a bit like, āWhy have I exiled myself up here?!ā,ā he laughs. āMost people move to Berlin! They donāt move to an ancient, Medieval English city.ā Pouring that discomfort into a low-key, ambient Bandcamp release, The Dream Derealised, he donated all the proceeds to mental health charity Mind, before finding himself pegged as the music industryās mental health advocate ā a move that only emphasised the gulf between the words and actions of those proclaiming to want to address the issue. āI think itās great, but thereās just a lot of talk about āthe stigmaā and āending the stigmaā,ā he sighs. āYeah, itās good to talk about it ā and it is, definitely! ā but also weāre not doing anything about it.ā Nowadays, heās taken matters into his own hand, working alongside the NHS to build a mental healthcare āpackageā that can be bought by labels and written into record deals. āI think in the next 12 to 18 months, weāre gonna start to see some practical changes starting to happen,ā he says with a note of optimism.
Advertisement
Before then, though, comes Doyleās return to music. Following The Dream Derealised, he released a further two compilations of ambient music, Lightnesses I and II, in 2017, before embarking on a multimedia art project titled Your Wilderness Revisited ā an exploration of the oft-ignored, serviceable beauty of new build housing estates in Britain. And it's that project that has fed directly into his new, debut solo single under his own name, āMillersdaleā (which you can stream below). Melding together the psychedelic ambience of those low-key, stopgap releases with an explosive free-jazz sensibility, the track weaves a tale of finding hope and emotion resolution in Britain's new build suburban estates.Doyleās love affair with suburbia is near lifelong. Born and raised in a 1930s, semi-detached house in Bournemouth, he found himself packed up and shipped off to a Southampton new build in the wake of his fatherās death, just as he approached his teenage years. He was instantly baffled by the rows of uniform houses, and the ways these estates weaved around their environment: āYou feel like youāre in the countryside at some points, and then other times youāre in this very man-made place.ā As the months went on, and a young Doyle began walking and biking around the back alleys and of his new home estate, he became enamoured with the area. āI think at that age I was projecting a lot ā I always had music in my ears, and that stuff becomes embedded in that environment in a weird way,ā he says. The likes of Talking Heads became a fitting soundtrack ā āI guess David Byrne has always tried to think about looking at the world in a very, very slightly removed way,ā he says, shrugging.
Advertisement
āYou think that if you move to the suburbs, itās just so anodyne there that youāre going to end up making boring art because of your surroundings,ā he posits. āBut actually, what I found was that it had the total opposite effect ā I was trying to work out so hard what this meant to me that I started making music in my bedroom and it just being this flurry of chaotic, creative mess.ā Holed up amongst the magnolia walls and utilitarian surroundings of new build British suburbia, Doyle found unexpected, endless inspiration. āYou donāt think about that when you think about suburbs,ā he admits, āyou think about people with boring lives and boring jobs, or whatever. You donāt think that maybe youāve discovered some secret; maybe youāve worked out something about why people live, or how they live.ā
āMillersdaleā is Doyleās return to that life-affirming explosion of creativity he had as a teenager. Pitching itself somewhere between the more exploratory, electronica of East India Youth, and his tentative steps into ambient music after that projectās dissolution, and pinned together by Doyleās recognisable, near choral vocal, itās the sound of an artist regaining control over the chaos that nearly engulfed him. The song, named after that very same house he moved to after his fatherās death, was born out of an idea he had a decade ago. He sat on it for near three years, bringing it back to life with the recent addition of a sprawling, free-jazz saxophone solo.āIām really into the London free-jazz scene, and I was trying to get a very specific player, and get into the studio, and all that stuff ā things werenāt quite working out.ā Frustrated, he returned home, picked up that same microphone heās recorded on since his teenage years, and invited a friend over. Aware that āit might sound absolute bollocksā, they put the sax to tape regardless ā and that spur-of-the-moment take is the one that made the final track. āEmpowering myself in that sense was good,ā he admits, ābecause I made the first East India Youth album like that, and I didnāt make the second one like thatā¦ I come from a background of, āHow can I make the most sophisticated-sounding thing with the least sophisticated method?ā For whatever reason, thatās become my MO, and I wasnāt realising that I was ignoring that.āA full William Doyle record is slated for some time next year, though heās taking it one step at a time ā no manager, minimal team, and no concrete touring plans as of yet. āThis is my first proper single in, what, three years? And I donāt want people to think that Iāve been likeā¦ā he trails off. āI donāt like that idea of the sole man wizard, making things,ā he says, snapping back to assertion. āI think thatās a really damaging idea, that youāre this male genius, working away in his laboratory, reclused and all that. Thatās one of the stereotypes that I think perpetuates peopleās descent into madness when theyāre making things, because youāre like, āOh, Iāve gotta go find myself somewhere, or Iāll take loads of drugs, or become an alcoholic, because thatās where the good material liesā. Iām not perpetuating that.ā If Doyle hadnāt had such issues with his mental health, themselves brought on by that pressure of conforming to the tortured artist archetype, heās sure heād have returned to music far sooner.This time around, he's in far greater control ā though thereās a far bigger picture to his plans. Heās keen to inspire creative conversation around modern British suburbs, in the same way the white picket fences of segregated American suburbia are seen as iconic. āWhen you live in the suburbs, youāre constantly being pushed this idea that the actual gold lies in the big city,ā Will says, looking to an increasingly brighter future. āActually, now that London becomes increasingly less habitable, I look at these places like maybe there is somewhere to go ā maybe not all hope is lost.āYou can find Tom on Twitter.