Riotous and fearless in their approach, London two-piece Bob Vylan are single-handedly altering the face of UK punk with a sound that pushes sonic boundaries and offers perceptive and defiant social commentary. The two members, Bobby and Bobbie, create without restriction, their unique chemistry without constraint.

The pair have unveiled their latest album, Humble As The Sun. Self-produced (alongside Johnny Breakwell), released and distributed, the project is a celebration of their uncompromising individuality – standing against the industry’s secularity, and wholly expressive in their views, portraying a moral compass that is righteous and impactful. Sonically forward-thinking and explorative, the album is a statement release, and a highly important body of work in the current social and political climate.

In a Wonderland exclusive, Bobby breaks down the record, track-by-track, explaining its intricacies, creative process and deeper-lying meaning.

Listen to Humble As The Sun…

Read Bob Vylan’s analysis…

“Humble As The Sun”
It started with me writing to a beat I found on youtube and I wrote it in two parts. The first part was to the beat I found on youtube and I wrote that in one night. The next morning I started making an original beat. I found some organ sounds and started playing about with that, added drums and then I wrote the second half of the lyrics. Once we got in the studio I had the organ replayed with a real hammond organ, added piano and had some real drums replace the programmed drums. It’s an important track as it’s the opener and I wanted to open the album with a soulful but powerful stance and I think the lyrics detailing where I’ve come from and how I’ve accomplished certain things in my life makes it an inspirational and empowering opener.

“Reign”
I found a drum break and I knew it was a single as soon as I heard that drum break and I was writing to just the break for a bit and then I started adding these dubstep type of synths at various pitches, creating movement with how they appear throughout the track. The hardest part was getting the bass to blend. I had gone through a ton of different options from different 808’s to a few different bass guitars, some sub bass synth and then I eventually stumbled upon the 808 that’s used and it just clicked. The other thing is the second part of the song – the second half being so different from the first half – I didn’t want the second half of the song to be its own track on the album because I wasn’t sure that it would flow right and I like the idea of a completely different beat change in the same track so I started producing that part separately and found a way to connect the too parts by mixing elements from the first half into the second half, but it’s very subtle. The voice that you hear talking between the two parts is from Kelechi Okafor that popped up on instagram around the time the Queen passed and I remember thinking “I need to use this for something at some point” and then when this track was getting created I remembered I had that speech saved on my phone so I reached out got her clearance to use it and it perfectly bridged the two parts together. There’s also a nod to Manic Street Preachers in the second half which I love.

“GYAG (Get Yourself A Gun)”
The first verse was written for somebody else’s song that I actually never got around to sending out. It was in my phone for ages and then when I heard played the riff on the beat, it fit perfectly. An obvious nod to Alabama 3 who did the Soprano’s song, but twisting it into a context that we would talk about. Much like Reign, there’s changes in the song’s production but what makes it whole is the hook. It always comes back to the hook. The chorus on GYAG has an anthemic sound that you can hear being sung at festivals. This song is a really good example of what Bob Vylan is, combining the rock and the hip-hop sides like this. There’s bars on this song too if you’re listening… It’s funny when I’m listening to it because I’m sure when people hear this they just think it’s me rapping but each line is a real life experience. It makes me proud that I was able to tell these stories but still make it entertaining for the listeners and make them move to it.

“Dream Big”
This is written for my younger self but also my daughter, my nieces and nephews. That’s why it was important to incorporate them in the song. I managed to get them to sing in the chorus of this one. I’m so extremely happy I had the chance to have them be a part of this, because it truly is for them. I made sure that there were no curse words on there too, so it’s sung by kids and can be listened to by kids. There’s a bit of a jungle reference on the second verse and that just came from experimenting with breaks and stuff once the song was all recorded. I just wanted to avoid having anything on this album sound too repetitive. I wanted people to feel engaged throughout the whole listen of this album, so the jungle sounds and elements just felt like a nice touch to keep things evolving throughout the song. Throughout this whole process of making the album, I had a go-pro with me getting a ton of footage and this is one that I got on camera. A very special moment to me, capturing the family performing the chorus. And I made sure they were paid for their work on this track haha.

“Hunger Games”
Such a dope riff. It’s kind of a fun song – although talking about something serious – it’s fun! Fun to perform as well. I like that there’s a transition in the song, like the others, when the affirmations at the end appear. It’s purposely put in the middle of the album, because if you’re listening to it on vinyl, it completes the first half of the album and I thought if you only make it through half the album this is a nice message to end on. And then the end of the second half of the album is ‘I’m Still Here’. This song encapsulates the entire album and the political message talked about throughout it. We’re talking about the housing crisis, corrupt politicians, the cost of living crisis, yet still talking about self-love, self-empowerment and determination. It’s meant to feel empowering for the listener. That’s why we’re still standing.. Right Here… now…

“Right Here”
In my mind, this is the beginning of the second half of the album – so I wanted to make sure it starts off strong. Again, with a strong drum break. It’s about being present. It talks about the things we’ve accomplished as a band, as well as an individual – where I came from, the things we’ve overcome. “I was so present in the street/now when I make a speech, labels are sweating in their seat”. The second verse talks more about the certain observations I’ve made in this industry. It’s also about what I feel like I was sent to do – with this band it’s about bringing the edge back. We’re making important music with an important message. It will ruffle feathers. It’s confrontational. And then you hear that confrontation at the end of the second verse… I actually got sent that video while I was in the studio making the song and knew immediately, I was ripping that and including it. Another example of how a lot of the parts of this album came together so naturally. It also works for a perfect transition for the next song on the album..

“Makes Me Violent”
This is a song about my relationship with this country and the way that it’s made me feel at times. It’s a very honest lament to my experience in this country, the way it’s treated me, people like me, and the way it tells us to be non-violent, yet partakes in extremely violent acts around the world. Also fun tid bit – the song features George Michael’s Baby Grand piano. Again I wanted to find a way to change up the production in the later verse and I asked Jonny (co-producer on the album) if he could replay the chords I’m playing on the guitar, on the piano and he was like “I can try”, and it worked out.

“He’s A Man”
One of the earliest songs made for this album. Me and Laurie from Soft Play were in the studio working. This song was one of many we made. This was the one I wanted to keep for the album – I wasn’t sure how it would fit but knew it was right to keep it for the album. It’s one of maybe 7 songs Laurie and I made together (“Delicate Nature” being one of the others that we’ve released). Laurie has so many dope riffs, and he’s got a very distinctive sound that when you hear them, you know it’s him. I’m just really happy we could have one on the album.

“Ring The Alarm”
Production wise It’s an expression of my love for Jungle music and Reggae music. I had this beat for a while. I sat with it for a long time and then I did a studio session with Laurie Vincent from Soft Play and after our first session on my train back home, I was playing this beat and wrote the first and second verses. At that point, it was just about finishing the production. I experimented with different pedals on the guitar to give it a dub aspect. If you listen carefully you can hear a ton of things happening in the background that are subtle. Also the use of the samples in this song feels perfect – nothing feels overdone. I love this one.

“I’m Still Here”
The closer of the album! Again, I wanted to end on something empowering and uplifting. This one talks about some of the stuff I experienced growing up and through various points in my life. Not knowing where to live, my friend being locked up for a 5 year sentence. All the traps I could’ve fell for but the fact that I dodged them, narrowly, makes me feel incredibly blessed. This track was my opportunity to express that. This is the first song Rex and I got the chance to work on. We worked on it over and over. I had these verses for a while but trimmed them down from a two part freestyle and added in the chorus. We sat in the studio, recorded a demo version, we sat with it for a while then Rex added to the production and then we got in the studio to re-record the drums and vocals. It made so much sense to use this as the perfect closer.