Q&:A Mato Wayuhi Gets Personal on ‘STANKFACE STANDING SOLDIER,’ a Genre-Bending Exploration of Love, Grief and Identity
MATO WAYUHI IS READY TO BARE HIS SOUL. His upcoming album, STANKFACE STANDING SOLDIER, is a deeply personal exploration of loss, heritage, and the unfiltered chaos of life. It’s been three years since his last album Pleasure, and in that time Mato stayed busy, composing the music both for FX/Hulu’s award-winning series Reservation Dogs and the feature-length film War Pony, which won the Caméra d'Or prize at the 2022 Cannes Film Festival, all landing him on the 2023 Forbes’ 30 Under 30 List. Interwoven between all of these life changing experiences and projects, Mato was dutifully scoring the next soundtrack to his becoming, STANKFACE STANDING SOLDIER. The title itself is a powerful statement, reclaiming his given last name (Standing Soldier) while embracing the bold, irreverent energy that defines his artistic persona (Stankface).
STANKFACE STANDING SOLDIER is more than a solo effort. The album features a range of collaborators, including Xiuhtezcatl, Black Belt Eagle Scout, Niandra Blonde, and A$h Da Hunter. Wayuhi describes the project as a meeting of "chosen family," each artist bringing their unique voice to the record.
The album is also a bridge between tradition and innovation. Wayuhi seamlessly blends contemporary sounds with traditional Lakota influences, creating a unique sonic tapestry. He cites figures like Zitkála-Šá, a Dakota musician and author, as inspiration, highlighting the importance of cultural expression and the power of challenging expectations.
With its release coinciding with a full flower moon, STANKFACE STANDING SOLDIER feels like a deeply personal offering. Wayuhi hopes listeners will find humor and connection within the album's raw exploration of grief. Ultimately, he sees the project as a gift, a celebration of life and a testament to the enduring human spirit.
We got to chat with Wayuhi to dive deep into the creative process behind STANKFACE STANDING SOLDIER. Wayuhi discusses the unexpected path the album took, from his initial vision of idyllic collaborations to the raw, introspective journey it became. The loss of his father loomed large, shaping the album's themes and pushing Wayuhi towards a fearless honesty in his lyrics. Read below to learn more about the album and what’s to come next.
LUNA: STANKFACE STANDING SOLDIER is a powerful title. Can you share the story behind it and what it represents for you?
WAYUHI: My real last name is Standing Soldier & I haven’t been too forward about that, probably because of how I was teased growing up — Native-sounding names were quick to be judged. I always liked it though, so titling my album after it feels like some sort of public reclamation. My family has so much to do with this record too, so including our name is my way of paying homage. The STANKFACE portion… it’s a moniker of sorts. It’s who I’ve been these past few years while making this music. Disruptive, brash.. parts of me I don't always understand. The alliteration is so big and sexy. STANKFACE STANDING SOLDIER.. it billows across the page. The all-caps is a nod to MF DOOM. I wrote my first raps to his instrumentals.
LUNA: The album blends traditional Lakota influences with contemporary sounds. How do you achieve this unique fusion in your music?
WAYUHI:The blending of influences and style happens intrinsically for me, as I’m sure many other Indigenous creators will attest to for their own art making. On my last album Pleasure, I wanted to reimagine the traditional Native flute. We jazzed it up and treated it like a Saxophone. For this album, my intuition led me towards my lineage, exploring old recordings of my ancestors. Everything clicked once I discovered those voices of my great-grandma, my grandma, my dad. Four generations of my family are heard on this album which is so exciting to me, and to answer the question, exemplary of how I weave those elements of culture and music together.
LUNA: You wrote, produced, and arranged all 17 tracks. Walk us through your creative process for Stankface Standing Soldier.
WAYUHI: I really didn’t wanna do this shit all by myself again haha. But here we are. My hope for this record was to collaborate more since all my other albums have been largely written and produced by me. I envisioned this idyllic creative process of working in dreamy, candlelit studios across the globe with earth-toned artists who collect rare vintage xylophones and say cool words like “quietude.” Zero percent of those sessions happened for this record. Mostly it was me arched over my laptop going full goblin mode, creating from an insular place of grief and uncertainty. Looking back, since it’s such a personal project, that’s really the only way this could’ve become what it is. I had to really focus on where I was when writing these songs, uninhibited by what I expected of myself. I went through a breakup while making this album and was in the studio a day afterwards, recording with the intention to report on the vibes. That was hard, moving through and creating from the unbroken grounds of processing, making it all the more necessary.
LUNA: The album is dedicated to your father. Did his loss influence the themes or overall sound of the music?
WAYUHI: This album brought me closer to my dad after his death, which is so special to me. In grief, you grow a new relationship with loved ones who passed away. I learned that through my mom and my friend Riley who’s been open about the deaths in her family. This music is me making sense of my relationship to my dad, his legacy and what I’ve done to cope. With that, I just wanted to be super forthright and fearless in what I’m saying, which is probably how my dad’s passing influences me most. We’re all gonna die, so be super genuine with your word. We’re all gonna die, so abandon the fear. My dad’s voice starts and finishes the record.
LUNA: Several collaborators are featured on the album. What did each artist bring to the project, and how did the collaborations impact the final product?
WAYUHI: I had the privilege of creating with some chosen family on this record. The Tewa and Niandra Blonde fingerprints are imbued throughout. They both play lots of guitar and bass. Real wizards those two. I stayed with KP from Black Belt Eagle Scout for a few days to work on music — she blessed me with some vocals on "FEE FI FO FUM," alongside the MUSCYA Children’s Choir. A year and a half ago I watched A$h Da Hunter rip apart the stage at her show, so afterwards I introduced myself and fan-girled. Her verse on "STANKFACE" is the keystone of the album. Xiuhtezcatl and I made NAMESAKE during the first couple weeks of living together in LA. It came about so naturally and feels like a song that honors our time touring together, so I’m grateful he’s on the album. Aside from music, several other folks were involved in the visuals and literary components of the music, all of which brought their authentic selves into the fold. That’s all I really asked of everyone who was involved with the album: let’s meet each other where we’re at.
LUNA: Sterlin Harjo calls your music "unapologetic" and part of an Indigenous art movement. How do you see your music contributing to this movement?
WAYUHI: I see my music bolstering the integrity of the Indigenous art movement. There are many beautiful Native artists out there doing their thing, several of which are on this album. I look up to them because them make me feel represented and understood outside of the cultural confines and expectations of Indigeneity. The honesty that I’m privileged enough to explore in my art will hopefully be a watershed moment for those by my side and whoever’s coming next. I have the gift of loving the misunderstandings that make us human, and want that for every Indigenous artist.
LUNA: Who are some of your biggest musical influences, both traditional Lakota artists and contemporary musicians?
WAYUHI: I’m an offspring of Odd Future. All them folks have been monumentally influential to me. Their boldness and musicianship helped me become who I am. Aging alongside them all is so nuts, very grateful for it. From a cultural // Native standpoint, Zitkála-Šá was influential in making this record. She was a Dakota musician and author who wrote the first Native opera back in 1913. Its subject matter around cultural expression and ceremony was literally banned by the US government at the time, so her ability to still proudly express those elements of our people with subversion is incredible. Sky Hopinka, who wrote the foreword for this album is also a major influence. His films feel like memories of my grandma’s subconscious.
LUNA: With the album's release on a full flower moon, is there any special significance behind this date?
WAYUHI: Both my dad and his dad passed away on a full moon. Releasing this album to the world on a full moon is my gesture of celebrating their lives. The birth of this next chapter in my art, in memory of their journeys to the spirit world. I’m sure the astrology girlies will have a field day with this too; I’m eager to hear what my music means to the cosmos and its axes.
LUNA: What are your hopes for what listeners will take away from experiencing STANKFACE STANDING SOLDIER?
WAYUHI: I hope listeners have a lot of fun with it, as improbable as that may sound considering its subject matter. Everyone in my life has been through so much, yet maintains such a powerful love for life and smiles with their whole face. I hope folks can find parts of themselves in the music and feel embraced and protected, maybe even challenged. I just re-listened to the album before sending in these questions.. I’m stoked! What a gift from me to you all. From you all to me.
