The Unfiltered Rawness of PISS’s “i wanted to be a singer”

If you’ve been keeping an ear to the ground of the indie underground, you’ve likely felt the ground shake a bit recently. Vancouver art-punk outfit PISS—made up of vocalist Taylor Zantingh, guitarist Tyler Paterson, bassist Gavin Moya, and drummer Garreth Roberts—has officially dropped “i wanted to be a singer”

It’s one of the most stark, emotionally charged tracks taken from their debut full-length album, you made me / skin on linen, released via Sub Pop Records and Paper Bag Records.

In a music landscape that often prioritizes clean production, auto-tuned perfection, and algorithmic radio appeal, PISS takes a sledgehammer to expectations. “i wanted to be a singer” isn’t just another single rolling off the indie rock conveyor belt—it’s an uncompromising, unvarnished piece of sonic expression that demands your undivided attention.

Moving Past Pop Conventions: The Sonic Profile

Calling “i wanted to be a singer” a “pop single” carries a heavy dose of irony. While the track has been categorized in some circles under noise-pop or modern art-punk, it strips away virtually every conventional pop motif you might expect.

Instead of verse-chorus-verse structures designed for easy singing along, the song relies on sludgy, textured noise rock wall-of-sound production, coupled with a delivery that borders on intense spoken-word performance. Recorded at Vancouver’s renowned Hive Creative Labs with producer Colin Stewart (known for his work with Dan Mangan, Black Mountain, and Cave Singers), the production lets every harsh guitar scrape and dynamic shift bleed through clearly.

The track creates an immediate sense of claustrophobia. The instrumentation doesn’t comfort the listener; it surrounds them, building up layers of distortion that feel as heavy as the themes the band tackles.

Lyrical Analysis: Trauma, Agency, and Art as Survival

At its core, “i wanted to be a singer” functions as an unvarnished direct address. Vocalist Taylor Zantingh casts aside standard poetic metaphors to talk directly to the listener about trauma, personal agency, and the complex reality of making art out of painful experience.

The opening lines set the tone for the entire song:

“No devices, no metaphors, no technique.

I don’t know if writing about violence is helping me.”

This line hits like a cold bucket of water. In two sentences, Zantingh explicitly rejects artistic pretense. The song asks a fundamental question that many artists grapple with in silence: Is turning your worst experiences into performance actually healing, or is it just re-traumatizing?

Throughout the track, the lyrics navigate the friction of self-expression under systemic stress. It reflects on how personal identity is shaped, altered, and sometimes shattered by intimate and structural violence. Rather than offering neat resolution or inspirational platitudes, PISS leaves the wound open for the listener to look at.

How “i wanted to be a singer” Fits into you made me / skin on linen

To fully appreciate the track, you have to look at its placement within the larger context of you made me / skin on linen. The debut album is structured like a continuous narrative exploration of heavy subject matter—body autonomy, survival, systemic failure, and emotional endurance.

“i wanted to be a singer” acts as a pivotal pillar for the record. It establishes the band’s ethos early on: this is not music designed for passive background listening. It demands active engagement.

The contrast between heavy atmospheric noise and sharp, confrontational lyrics creates a tension that defines the rest of the album. Gavin Moya’s driving basslines and Garreth Roberts’ calculated, erratic drumming hold the chaotic energy together, giving Tyler Paterson’s feedback-laden guitar work space to breathe and cut through.

The Rise of PISS in the Modern Art-Punk Scene

Vancouver has long had a reputation for producing fiercely independent, high-energy underground bands, but PISS occupies a unique space within the modern DIY circuit. Signing with legacy indie powerhouse Sub Pop alongside Paper Bag Records gave them a global platform without forcing them to dilute their sound.

Music critics and fans alike have noted how the band avoids the typical tropes of modern rock revivalism. They aren’t trying to sound like a nostalgic throwback to ’90s grunge or early 2000s post-punk. Instead, they lean into a modern noise-rock aesthetic that feels urgent and necessary for today’s cultural climate.

“i wanted to be a singer” has rapidly become a central talking point in online music forums and alternative publications precisely because of its honesty. It highlights a growing appetite among listeners for music that feels genuine, raw, and completely unbothered by commercial polish.