“Nails pressed through beggars hands.“
Renowned for their enigmatic allure, it comes as no surprise that post-hardcore luminaries Static Dress intricately weave secrets and cryptic puzzles into their artistic endeavours. From the very inception of the band, frontman Olli Appleyard has emphasised that Static Dress transcends mere musical expression and instead represents a comprehensive art form, encompassing music videos, physical packaging, social media engagement, and an immersive online presence. In this article, we shall embark on a descent into the convoluted realm that has been meticulously crafted for us.
Prior to our analysis, it is important that we lay the groundwork for what is to follow. Specifically, we must address that Appleyard recently confirmed that the music video and lyrical stories are actually interwoven, after previously stating that the stories are detached from one another. Importantly, this revelation came to light upon the release of “Di-sinTer (Glitter Redux)”, the significance of which we will discuss later in this article.
With that out of the way, let’s delve into the dark and enchanting world of Static Dress.
TBC and Prologue (Comic Book Soundtrack)
Sonically, we are first pulled into the story with the highly-anticipated release Prologue and the accompanying comic book which illustrates the EP’s chilling tale. The narrative introduces us to two key characters in this storyline: Emile and Nancy, a couple whose turbulent relationship destroys all in their wake.
The EP opens to a car clearly speeding, leading to a terrifying crash accompanied by the cries of somebody clearly in pain. These are the cries of Nancy, Emile’s partner, who has just been injured in the wreckage. Emile can be heard retrieving Nancy from the wreckage, with the sound of a diner door following, signifying to us that the couple have made their way from the wreck to a nearby diner. Right on queue, the first track of the EP, “disposable care“, kicks off with a ferocious energy that sets the pace for the story.
Lyrically, this track appears to take place prior to the couple entering the diner, or at the very least, indicates to us what has occurred prior to their arrival. We are given glimpses as to what will happen as the story progresses through this track’s lyricism, particularly with the foreboding and poignant line “Playing the good guy was your favourite disguise”, which encapsulates the message of the track in revealing the couple have formulated some sort of plan. It is important to note here that it does not appear that Nancy is best pleased with the idea that Emile is pushing on her, but out of love, she goes along with it anyway.
“Now I’ve seen it so clear, blame the world for burning as you held the fuse”
Following this rather ominous introduction to the couple, instrumental track “The Spare Key in the Back” gives us a breather. Amidst the amalgamation of sounds within this track, the distinctive tone of a payphone being dialled becomes evident. The accompanying comic clarifies the picture somewhat, depicting Nancy utilising the payphone connected to the diner, though we do not know who it is that she was calling. Keep this in mind, as we will refer back to this later.
Track three, “Sober Exit(s)“ takes us into the diner, with the lyrics “looks like too little too late now, wrapped up in tragedy” signalling to the listener that it is too late to turn back now; Emile’s plan is already firmly in motion.
The comic book, which was only available to early supporters of the band, provides much welcomed insight as to what occurs within the confines of the diner. In the comic, we see that Nancy is flirting with a patron. Like clockwork, Emile enters and assaults the gentleman, eventually leading to Emile stabbing him to death. Following this commotion, we are shown that Nancy has stolen the now deceased gentleman’s car keys from his corpse. It is clear to us that this was a premeditated event, with Emile masterminding the situation and Nancy being a pawn in his game.
Lyrically, this track is written from the perspective of Nancy, with a lot of additional information being provided through the lyrics as to her thoughts on the situation at hand, and her relationship with Emile. We are given glimpses as to the cracks in their relationship, and Nancy’s realisation that Emile is destructive, yet she is also unable to stop herself from loving him. This concept is driven home in the short track “in this fake city” by the lyric “Cause I will stay here forever with you.” Nancy knows that Emile is dangerous, yet she can’t help being drawn to him.
The cacophonous “foreplay (is not my forte)” follows this up, providing a brief insight into Nancy’s past, and letting us know that she departed from the path that her life was on in order to spend her life with Emile.
The EP’s penultimate track (and final proper song) “Vague” serves as a summary as to the events that have occurred throughout the release. Written from the perspective of Nancy once more, this track conveys her emotional position following the events within the diner, demonstrating that she is now realising she cannot continue living with Emile in the way that they have been. Moreover, Nancy is not only acknowledging that Emile is dangerous, but she also appears to realise that maybe the relationship is one-sided and that he does not love her in the way that she loves him.
“So I have seen enough
Another love crushed and my heart spent
To myself, it’s obvious
Our time was cheap and so short-lived”
Furthermore, we can see that Nancy is crushed under the guilt of what she has accommodated, as well as the feelings of betrayal, to the point she considers taking her own life. She is truly in a state of emotional turmoil here, and this track truly drives home how the couple’s relationship has taken its toll on her. She has reached her breaking point. Lyrical metaphors of rust illustrate this, with the idea that they were once new and fresh but now in a state of disrepair.
In its closing moments, we are given one final piece of narrative through the rather epilogue-reminiscent “to the hotel…”. This does not make all things clear, but it does set the scene for the following release, Rouge Carpet Disaster. The comic book illustrates that, in the aftermath, the couple have now stolen the deceased gentleman’s car, with Emile using a makeshift molotov cocktail to set the diner alight and remove all traces of evidence at the scene. But what about the chilling outro of “to the hotel…”, I hear you say? Well, this sets us up perfectly for the events to follow…
This EP purely serves as an introduction to our characters and lays out the groundwork for what was to follow: the band’s debut album. We as an audience have been introduced to our two main characters, and the turmoil surrounding their relationship, but it is Rouge Carpet Disaster where the story kicks into high gear.
Rouge Carpet Disaster
Now, before we get into the album, you should be aware of another early adopters exclusive: A full printed lyric booklet containing additional lore to progress the narrative, hotel floor plans, and many more secrets was made available to the first 1500 vinyl copies pressed (spread across 3 /500 variants via Venn Records). We can use this, in conjunction with the lyricism of each track, to piece together the events occurring throughout the album’s tenure.
Rouge Carpet Disaster picks up exactly where the EP left off, with Emile’s repeated “Don’t scream” on the EP’s closer being met by a ferocious roar from Olli to kick start the album’s opener “Fleahouse” (also note that the “FH” in “From a Mansion to a FH” means “Fleahouse”). This track (and most of the album) is written from the perspective of Emile, talking the listener through Emile’s arrival at the hotel (Hotel Disdain). From this introductory track, we can learn a lot has occurred in the short time frame between the events of the EP and now. Moreover, we learn that Emile has arrived at the hotel alone, and that one of the hotel’s caretakers spotted him on approach, having seen that he kept pulling over into lay-bys with Nancy in the passenger seat.
Emile has killed Nancy.
The booklet all but tells us this, with the caretaker noticing that not only has Nancy apparently vanished, but Emile’s bag is also remarkably heavy. This ties into the tracks lyrical themes, which seemingly discuss a guilt-ridden Emile attempting to console himself, chain-smoking, and questioning whether or not his relationship with Nancy was ever love or just a quick fling. Moreover, we can see that Emile is struggling to accept the consequences of his actions, with Olli (speaking from the perspective of Emile) delivering the line “It’s too much for me.”
This is followed up by a flashback to the events prior to Emile’s arrival, with “sweet.” acting as a bridge between the end of the EP and the beginning of the album. Interestingly, we can also note that “sweet.” was initially included on the TBC CD, an early demo CD for the Prologue… EP. Based on “sweet.” being positioned at the end of the demo CD, we can deduce that it is the band’s intention for us to see the track in this way.
In “sweet.”, we are passengers in the fictional drive that Emile and Nancy found themselves on following the arson. The track talks us through Nancy’s last moments alive. Nancy and Emile were seemingly in an ever-changing battle between love and hatred towards one-another. This track appears to be written from Emile’s perspective, with him recalling the events as a memory. It can be deduced that the couple’s love/hate situation was triggered by Nancy attempting to end the relationship; the lyrics “And you’re thinking of leaving, when I’m kicking and screaming” all but confirming this, as well as informing us that Emile did not take this news well. Furthermore, “there’s no chance to say goodbye” indicates to us that in a frenzied state, Emile kills Nancy without hesitation, not even leaving time to say goodbye to her.
“Push Rope” brings us back into the present, with Emile now sobering up and the reality starting to settle in as to what he has done. However, there are still references to “she” and “her” in the present tense lyrically throughout this track, indicating that Emile may be in a worse state than we previously thought; there is a high possibility that he is hallucinating or in denial, refusing to accept that Nancy is no longer alive.
Furthermore, Emile seems to engage in conversation with this conjured vision of Nancy. “I know I’m not wanted here, dead response and cold replies” suggests this is the case, but also that he mistakenly expects a reply. Alongside this revelation, the track also insinuates that there was some form of ongoing substance abuse between the couple, and that Emile has resorted to this in an attempt to numb himself to the emotions caused by his actions.
“If evil gripped my thoughts, I won’t wake up, and this can’t hurt me”
We see this followed up by “Attempt 8”, a tragic number that deals with the heavy themes of self-harm and suicide. Right off of the bat, the importance and message of this track becomes inherently clear, with the lyric “I never got a chance to say goodbye, time stops in each day” showing us that Emile has now progressed beyond guilt and is in a state of self-pity and missing Nancy’s presence. The track truly illustrates Emile’s inner turmoil, with the narration showing that he is moving between a state of sorrow and being suicidal due to his overwhelming sense of guilt.
“It’s all over anyway, And I won’t stay in the night again”
It is perhaps the closing lyrics to this track that are the most telling though, as they indicate that Emile has come to terms with his actions somewhat, and has accepted that he cannot change the past and must move on.
Throughout this track, the booklet makes us aware that the hotel’s caretaker has retired to his personal chambers and is playing music loudly as a distraction from Emile and the actions that he knows have been committed. Tragically, we are also made aware that Emile knows that this is the case, and towards the end of the track, once Emile has overcome the guilt that he feels, we are told that he leaves his room and makes his way towards the caretaker’s room.
“Courtney, just relax” and “Di-sinTer” follow up this slow number with a level of aggression and violence that so far the album had not presented us with. It is only fitting that the narrative throughout these tracks is also one of aggression and violence. “Courtney, just relax” sees Emile entering the caretaker’s room and bludgeoning him to death with a hammer that he finds. Furthermore, we are told that this does not kill the caretaker on impact, with the lyric “Clenching final moments, Stealing the air you breathe” telling us that Emile had to finish him off, presumably continuing to strike blows with the hammer.
Following this up we have “Di-sinTer”, which forwards us on from this horrific scene to Emile now disposing of both Nancy and the caretaker’s corpses. Lyrically we can infer this from “bodies beneath, the ground breaking,” but the booklet is more explicit, conveying that Emile buries the bodies in the gardens beside the car park. We learn that Emile sees this as a form of closure, with the delivery of “cemeteries, stability” indicating that he believes that burial will rid him of any guilt. However, we come to learn through the lyrical content of King Yosef’s verse that this is not done in a respectful manner whatsoever, and is haphazard at best.
“Contort, bend
Scratch, getaway
Rip the tape
Staple face
Bodies mark our scattered grave
Humiliate me
Thrown in led footed, no looking back
My impact makes no sound”
As if it was not already disrespectful enough to bury the corpses beside a car park, Emile has simply thrown the bodies into a pit, taking no care whatsoever to lay either of the deceased to rest, further showing a lack of respect and remorse for what he has done.
We follow Emile’s grieving process into “such.a.shame”, which indicates that Emile has reverted again into a state of wallowing and self-pity. The booklet tells us that he has retired to the hotel’s bar, and has ordered a house special, which sends him into a somewhat erratic state. This only exemplifies the lyrical content of this track, with Emile seemingly jumping between self-pity and self-loathing, justifying his actions as being an “ugly moment” one minute before then suggesting that he deserves to drown for his actions.
This progression continues into the following track “…Maybe!!?”, where Emile actively contemplates his own death, believing that if he were to die his actions would be erased as if they had never happened. We are told that this is not a new feeling for Emile, with the lyric “fitting broken pieces again” implying that this is a somewhat regular occurrence.
The aptly titled “Lye Solution” continues this, showing the progression of Emile into a state of despair. “Pray the sky falls, for maybe that’d be easier” opens the track, representing in concrete terms the longing for an end to his cyclical and self-inflicted suffering. It is clear, however, that he knows he will not escape the guilt and grief so easily. Believing so, as he tells himself in other tracks, is clearly a coping mechanism.
Throughout the track, Emile deals with the demons and visions that haunt him. The booklet informs us that Emile disposes of Nancy’s belongings during the course of this, leaving them in a props chest within the hotel’s theatre so as to not arouse any suspicion. At this stage, Emile is somewhat numb to his actions, with a callback also being made to the story told by the previous EP in “Driving through a harsh reality, Crashing cars just to feel something.” This raises an important question – was the crash an accident in the first place, or was it another scheme orchestrated by Emile? The repetition of “your control won’t stop you bleeding” throughout heavily suggests that though Emile is carrying out all of these actions to try and move past his guilt, he can never truly be free of it.
Nothing drives home this point better than the subsequent track, “Welcome In”. Right away, we are informed that he has taken sedatives in an attempt to further numb himself to his crimes. The booklet tells us that Emile is in a state of delirium and hallucinating. It describes Emile racing into the lobby, his heart pounding, and discovering a slightly ajar hidden door. Through the door, he finds 12 faceless figures dancing with each other. Behind them, light peeks through torn wallpaper. This imagery is rather specific, and is something that we will come back to later in the article. Emile is clearly not well.
Repeated references are made to substance abuse; Emile often does this, but it is implied that typically the drugs he is taking do not have this effect on him. At one point in the song, we can see that Emile is searching for forgiveness for his actions, with him being “Cradled the floor until she’d take him back…”. He is being consumed by remorse to the point at which his normal means of escapism are only exacerbating that guilt.
“Marisol” acts as a fitting closer to Emile’s storyline, its lyrical content alluding to Nancy’s feelings towards him before her death and providing insights into Emile’s realisations as he reflects on the events of the past 24 hours. Lines such as “Fix your disease, Leave in a cardboard box, Syringe induced dreams” convey a sense of reproval and regret. Emile appears to finally grasp the gravity of his actions. “For when you fall asleep, lips turn to stone, empty-handed and alone” suggests that Emile feels a void in his life now that Nancy is gone, leaving him feeling isolated.
The final verse of the track is particularly intriguing as it references the events of Prologue.., bringing the story full circle. It is followed by a realisation that Emile has been overthinking and now feels as though he is falling. The lines “Before I have to leave, Tears gravitate and your cold surface speaks, Dying on a payphone, Sleeping rough in the car” evoke a sense of desperation and vulnerability. Overall, “Marisol” provides a poignant conclusion to Emile’s narrative, encapsulating his remorse, loneliness, and the weight of his actions. It also ties back to earlier events, showcasing his emotional journey and the toll it has taken on him.
“Cubicle Dialogue” serves as a closing credits theme of sorts to the story of Rouge Carpet Disaster, leaving us on a cliffhanger as to what will happen next. Emile appears to be coming to terms with who he is and the actions he has taken, with the lyrics “Stop acting undercover, there’s no need to hide from this” signifying Emile’s consciousness telling him that he no longer needs to conceal or deny his actions, and that acceptance will free him.
Fans familiar with the band’s earlier work will notice a callback to the pre-Prologue track “Safeword” in the outro in the form of “From the twenty-third floor, past the second-story window.” In this context, it indicates that Emile is contemplating jumping from the window ledge as a means to escape the figurative demons that haunt him.
However, Emile does not actually jump. This is evidenced by a spoken word section at the end of the track (“Two steps from the edge, I need to get back down. I’m so close to being free, why would I stop now?“) followed by the sound of a door closing. He realises that his actions thus far have brought him closer to a state of freedom and that he must continue on this path until he finally achieves it.
The track leaves us with a sense of anticipation and curiosity, as it sets up future possibilities for Emile’s journey. The story is left open-ended, allowing listeners to imagine what might happen next in Emile’s quest for freedom and redemption.
Music Videos
During the writing of this article, new information came to light from Appleyard’s twitter which confirmed that the music video plotline is, in fact, linked to the lyrical plotline. Until this point, there had only been vague references to the plots being linked, with only a handful of videos containing clear evidence to support the theory that they are connected.
Notably, the music videos for “such.a.shame” (both original and redux), “Di-sinTer” (original and redux), and “Courtney, Just Relax” contain the most evident linkage between the plotlines, with the first appearance being an animation of the hotel’s elevator ascending within the original “such.a.shame” music video.
Until this point, there has been no confirmed plotline to the music videos, but the widely accepted theory amongst the fanbase, dubbed “The Experiment Theory”, is that each music video represents some form of experimentation; each different variation of Olli is a different test subject, and each room is a different testing chamber. This theory was somewhat confirmed by Olli in a Twitch.tv livestream, though he was keen to add that it would be left up to speculation still.
We would like to expand upon this theory and propose the concept that Olli in the music videos is actually playing Emile, and that each room shown in the music videos is actually a room within Hotel Disdain. From here, we would also like to propose two potential avenues for this: either Hotel Disdain is supernatural in a sense, in a similar way to The Stanley Hotel in The Shining, or Hotel Disdain is actually a psychiatric hospital, with Emile a patient admitted following the car crash. Thus, the entire story might very well be in his head.
Of these, the car crash theory is more convincing, with Nancy dying in the crash and Emile’s imagination conjuring the events that took place afterwards. It is our belief that Emile awakens within Hotel Disdain, and is being tested upon or treated for psychiatric issues. This would tie into the lyrical plotline, as Emile is clearly taking medication and also seemingly spiked by a “house special” cocktail. Furthermore, following this, we are informed that Emile begins to see things that are not actually there, such as the room of faceless people and Nancy’s ‘ghost.’
There is some evidence in the music videos to support this approach, the most definitive being the “such.a.shame Smoking Lounge Redux”, in which we see Olli/Emile, now on a drip in a hospital gown and with dark rings around his eyes. In this video, he is performing in the smoking lounge of the hotel, yet all of the patrons faces are eerily distorted, as though their vision is impaired by the medication. Another interpretation of this video is that though Olli/Emile is being medicated/tested upon, he is starting to realise what is going on, with the distorted figures in the smoking lounge representing the doctors or scientists observing him.
Moreover, we also see that the protagonist is being medicated with a glittery substance via a syringe in the video for “Di-sinTer Glitter Redux”, as well as the implantation of an electronic circuit. This video also introduces a new, disfigured variation of Olli that has been watching via a CRT TV, in the same way that other variants of Olli have been observing one another in prior music videos. Interestingly, this is the first music video to also feature shots from a CCTV camera which the band had previously utilised as promotional material on social media and their website.
Tying into this, we also have the phrase “we were just set up for those observe,” which the band hid in earlier promotional materials. This supports the theory of each room being its own testing chamber, as we repeatedly see shots of these rooms via CRT TVs as though the band are being monitored within these rooms.
We won’t dwell much more on this, but it is an interesting concept that Olli/Emile is within some sort of facility, and is starting to come around and realise what is going on. This is something that we fully believe will become more clear as additional videos are released during the rollout of Rouge Carpet Disaster Redux volumes 2 and 3.
Final thoughts
As you can see, there is a wealth of complex and nuanced storytelling woven into the Static Dress universe. Clearly, it’s designed to evolve and leave listeners pondering. What fate awaits Emile? Where will his journey take him next, if anywhere? Will this narrative continue in the next release? Only time will reveal the answers, but one thing remains certain: we’re eagerly aboard for the journey.
UPDATE: December 2023
Following November 2023’s UK headline tour, we have been given a glimpse at some further lore expansion that may be coming soon.
Throughout this tour, the band debuted a new interlude style track played on track, of which we are yet to learn the name. The lyrical content of this new track is extremely heavy, and is clearly linked into the existing Nancy/Emile plotline that was kickstarted by Prologue.
As this track has not been made publicly available yet, please find the lyrics below:
“Still learning? Aren’t we all?
A sorry kept promise of self control
The trigger
You are the chamber
And the sorry fact I still can’t remember
You used me when my mind didn’t work
You took my body for its parts
As you knew my heart just couldn’t hurt
Fragile to the touch
Blacked out for 3 weeks
My last attempt wasn’t enough
Dare to see the art I’ve made
Decorated my wrists as a form of escape
A reminder of every failed attempt
Every mark that you leave is a monument
I don’t blame you for this
I won’t blame you for this
I just blame him and everything he’s done”
From the lyrical content alone, it is safe to assume that this is yet another track written from Nancy’s perspective, presumably prior to the events of Prologue.
Furthermore, it sheds more light onto the couple’s relationship dynamics, and allows us to see that Nancy was aware for a long time that Emile was not good for her.
As listener’s, we can see quite plainly now just how poor Nancy’s mental state has been, with the explicit references to self-harm being inflicted, as well as substance abuse.
It also introduces us to a new, unnamed character as well. “I won’t blame you for this, I just blame him and everything he’s done” seemingly implicates a third party in whatever trauma Nancy has undergone.
Without giving too much away, Boolin Tunes can confirm that there are additional tracks in existence which tie into this and will expand upon the plot even further. A very small subset of fans will already know what we are referring to here, and will have likely noticed the teasers that have been hidden in plain sight for months now.
Currently, it is unclear where this plot will lead us to next or when we will get a public release of new material, however one thing is certain – it is definitely going to be a crazy ride!
A special thank you to Anthony Ward for his assistance on the research and direction of this article. Without you this would not have been possible.
Rouge Carpet Disaster (Redux) is out now via Roadrunner Records, and you can find the record here.