Welcome to Native brilliance unleasheda Q&A series dedicated to Indigenous visibility, well-being and empowerment.
In this edition we have the honor to discuss the musical artistry by Mato Wayuhi, an award-winning Oglala Lakota composer, rapper, and actor from South Dakota. With his highly anticipated album STANKFACE STANDING SOLDIERWayuhi is poised to continue making waves in the music industry.
“STANKFACE STANDING SOLDIER”
Two so far music videos by STANKFACE STANDING SOLDIER have been released and offer the world an enchanting glimpse into the vast artistic universe. Wayuhi has had the opportunity to pre-listen to the full album and takes us on a powerful journey, weaving reverence for his Lakota kinship relationships, deciphering lessons from heartbreak and delivering dynamic sonic experiences that strike a unique balance between light-hearted humor and deep introspection.
“I have the privilege to go beyond what is expected of Indigenous artists and I want to extend that to all other artists,” said Wayuhi.
Infused with genre-bending soundscapes and poetic lyricism, this masterpiece promises to revolutionize Indigenous music. It comes as no surprise that Wayuhi’s creativity caught the attention of the entertainment world, leading him to the star-studded 2023 Forbes 30 Under 30 Hollywood & Entertainment List and deserving representation by the renowned talent agency, CAA.
“Mato’s music is everything good Indigenous art is now. We’re in a renaissance and his music speaks directly to that movement. It’s unashamed, it doesn’t need permission to exist and it’s made with an urgency – a urgency to move us into a new era,” said Sterlin Harjo, creator of the television series FX Reserve Dogsfor which Wayuhi is the musical composer.
Awaiting STANKFACE STANDING SOLDIERwe had the opportunity for an exclusive interview with Wayuhi, where he shared insights into his creative process, collaborations, the importance of self-care and the impact of his musical journey.
“Family”
Forbes Health: First the title of your album, STANKFACE STANDING SOLDIER, is fascinating. What is the story behind it and how does it sum up the essence of your music?
Mayo Wayuhi: That name has been haunting me for years, for my last album Pleasure even came out. Names have such narrative weight; STANKFACE STANDING SOLDIER is titular to who I was while making it. Standing Soldier is my actual last name. Stinkface because…well, you’ll soon hear why.
FH: Collaborations often bring new dimensions to an artist’s work and a new perspective on music. Are there exciting collaborations on it? STANKFACE STANDING SOLDIER what can you tell us about?
MG: You are who you keep around and I am infinitely grateful to the prolific people involved in this record. My brothers Niandra Blonde And The Tewa sprinkle their brilliance over multiple tracks. Black Belt Eagle Scout And A$h Da Hunter do their damn thing. Tommy Pico And Heaven Hopinka helped reinvent the record by becoming their own. Cannupa Hanska Luger, Solange Aguilar, Ali Kelly, Prados Beauty, Fox Maxy and Quw’utsun’ Made help to fully realize the visuals for the music. I have learned so much from these people. My relatives and ancestors also helped a lot to make this album. It takes a village to raise a child; STANKFACE STANDING SOLDIER is the sound of the village.
STANKFACE STANDING SOLDIER credits
FH: In the process of creating STANKFACE STANDING SOLDIERdid you encounter any particular challenges or breakthrough moments that shaped the album’s direction?
MG: Absolute. Unfathomable grief, loss of direction, love, heartbreak, all flavors of drama. Many things that threatened to break my creativity. This album was like a bloodletting for all those ailments to heal properly, or at least acknowledge. For that, it’s the purest, most honest thing I’ve ever made. No exaggeration or exaggeration – I’m just telling you what it’s like, where I’ve been and where I’m going. It asked so much of me and I had to keep pace with its evolution and movement. Making this in recent years has been the greatest liberation for me. The music is meant to honor that movement. To honor everyone who got me through it, the ones I lost and who lost me.
“Father’s Day”
FH: As a word writer, your lyrics are known for their depth and thought-provoking nature. Can you give us a glimpse into your creative process when it comes to creating compelling and meaningful verses?
MG: I love the fluidity of words and how rap encourages that look. Even though I’m working on a lot of sounds, I still see myself as a rapper. I’m a big nerd on originality, cadence, rhyme schemes, imagery – all the verbal and literary conventions that make people stink when they listen. However, there is no barrier to entry for me. Very spectral in terms of music taste. In writing I try to find the most honest, yet imaginative way to describe knowledge and experience. Earl Sweatshirt says rap reports, which I agree with. Reading helped a lot with writing – I didn’t read for the first 20 years of my life. I don’t feel like repeating it, so I study what came before me. That said, I don’t want to make my process intellectual. Music is a feeling, so whatever words make me feel a certain way, that’s where I go. I sing a lot on this album because it feels good.
FH: The representation of Indigenous artists in the music industry is vital. How do you see your music and the success of this album contributing to a more inclusive and diverse industry?
MG: I have the privilege to go beyond what is expected of Indigenous artists and I want to extend that to all other artists. Everything you do will inherently be an extension of your culture, etc. I take my job very seriously because I want to make sure we see ourselves (or at least myself) as multidimensional, weird, and beautifully flawed. The resistance to self-definition. Natives don’t have to operate within the parameters of whiteness as often as they used to. Sometimes the rigor of tradition can hinder expression, especially when negotiated as a ‘this or that’ decision – you are a contemporary or a traditional artist. No. There is no need to balance if everything I make is inherent to who I am. Doing something different doesn’t change where your values lie. My music is a vehicle for that conversation. Until I get bored and start making country songs.
Mato Wayuhi
FH: Representation can also have a major impact on the mental health of Indigenous youth. How does it feel to know that your music and success serve as a source of inspiration and empowerment?
MG: It’s crazy to have shows and see who connects to your work. To be greeted by a bunch of weird kids who are mega talented and involved in their community. Who ask specific questions about my work, show me theirs and tease me. I get a lot out of those interactions – there is reciprocity between them and me. I am very grateful to have nurtured this kind of fanbase. Many of them have described to me how my music has helped them through difficult times. That always makes me so emotional and grateful for being there. I’m still. Instead of trying to save the entire Indian country, I just focus on the interpersonal connections with admirers of my work, and keep going. I am aware of my impact, but I don’t bring it to the studio or the stage. Making the best shit possible is all I care about.
FH: You composed the music behind the FX series Reserve DogsAnd Echo, the upcoming Marvel series on Disney+. How does your role as a composer relate to other aspects of your musical artistry?
MG: I was hired for Reserve Dogs because of my solo work. Sterlin Harjo showed interest in my first record Part-time Indian and thought I would fit in well with the series. He and I have talked about it ever since and he said my music doesn’t ask permission to exist like all of his work. Validating the OGs is indescribable, especially if it’s your first time doing something (Reserve Dogs is my first time composing). My approach to my own music hasn’t changed much since I started scoring for film/TV. I got those gigs because of the worlds I was building when I thought no one was watching. I’m encouraged to keep acting weird, keep trying new things, and never ask permission.
“Aunt”
FH: The music industry is notorious for its fast pace and demanding schedules. How do you stay personally grounded in self-care and personal well-being throughout your artistic journey?
MG: You guys are watching my self-care become a reality in real time. Since I started doing all this, work has been as much an escape as an outlet. Escaping parts of myself that I wasn’t happy with. That gets sticky, because once your mind delimits happiness to outcomes beyond your control, a great void can linger even if the version of success you’ve assigned meaning is achieved. I’d do the stupidest shit – things I’d dreamed of doing – and feel unfulfilled. Sadness because outside my profession I was still not happy with myself. That was an important consequence for me, because I used work as an escape from myself rather than as a serious expression. Part of my self-care includes taking breaks, assessing where I need to heal. I also like to enjoy the little things. I literally made myself some eggs and toast with a butter/blackberry jam spread. Good god, I’m floating now. Also skin care. How sad can you really be when you’re glowing, all hydrated and all? With this album, I’ve found some ways to further share self-care methods with my fans, so stay tuned.
Mato Wayuhi
FH: Finally, what else can fans expect from you? STANKFACE STANDING SOLDIER? Do you have future projects or collaborations in the works?
MG: There’s a lot of fun along the way. Stay tuned. Keep your eyes open and your heart open for business. Thank you for believing in me.