Interview with the Last Wolf
(Photo copyright: Elise Lehec)
It was first during my interview with Aria Konishi that I had discovered The Last Wolf after having dived into all the music that Aria was involved in and listening to all of the bands. I still remember making the YouTube playlist for the article and really enjoying the four songs, as well as the videos, from the latest album, Another Kind of Blue.
It didn’t take long for the rest of the album to grow on me as there were even more fantastic songs on the album. I am a big fan of the arrangements and the interplay between the instruments, I am always curious as to where the ideas come from and how they come together so well (especially with solo musicians). The vocals add a nice, soft touch to the compositions, lyrics which are open and honest, whilst adding to the overall warmth and intimacy of the album.
On my way to the summer holidays with the family, we met up with Mathieu Evéquoz, who originally started the project as a solo project, in his adopted home town of Geneva. Currently based in the Carouge neighbourhood, a place that already holds a couple of fond memories for me, it was great to meet him there to know more about his background and to know about his 20-something years experience in the music scene in the Geneva-area. It was a pleasure to discuss different topics about music and life as well as spending the afternoon with him, and since creating Reverb Dream, it has allowed me to meet a lot of great people across Switzerland too.
Although, we didn’t record our discussions, we later organised a text-based interview for the blog. In this interview, we find out more about his story, the evolution of the project, now a trio with Aria and Mount Kõya bandmate, Kevin Ruffieux, on drums, their trip to London and what to expect for the future including their latest singles (as first recordings as band), Disposable Waste and Prey of Yesterday.
Introduction:
Tell us about yourself:
I am Mathieu Evéquoz, I was born in Wallis, and I have been living in Carouge (Geneva) since 2016. I am a musician and songwriter playing in different projects. Right now, my main band is The Last Wolf which started as a solo project about 10 years ago but morphed into a '“full band” since 2024. I am also the guitar player of Hemlock Smith from Lausanne since 2019, a band that has a more than twenty years of longevity.
When did you first get into music and playing music? Which instrument did you pick up first?
I really think I was always into music thanks to my parents. I remember listening to LP’s with my father during weekends. I have fond memories of hearing stuff like Led Zeppelin, Queen, Black Sabbath, Thin Lizzy and Electric Light Orchestra when I was six or seven years old, looking at those great record covers. My father also had a bass, I was impressed and intrigued by the instrument and the sound that was coming out of the amp, even though he didn’t know too much about playing. I really started to hear the difference between instruments on recordings thanks to those days listening to music with him. Then, I got interested in learning the guitar first when I was around eleven. I started taking class but I badly broke my leg in a skateboarding accident soon after the first couple of weeks of classes. I had to stop taking courses. Since then, I learned to play by myself, mostly playing power chords and cowboy chords for the first couple of years. The bass came not long after.
(With The Green Flamingos in 2021 / photo copyright: Loïc Auderset)
As a self-taught musician, what advantages and disadvantages do you think this gives you?
I really think it helped me a lot in the beginning. I didn’t care much about technics, so there were no real limits, I started to play guitar in 2000 maybe 2001, and started to play with my first band in 2002. We were friends from school, we barely knew how to play, we loved punk rock and we had the burning desire to form a band and make some cool sounds together, and maybe create some songs by accident. Our drummer basically started to play the drums during our first “rehearsal”. It was a great moment in our teenage lives. I also think that the fact that we learned to play on the spot gave us great ears as well.
I don’t really think it a disadvantage, at least not in my “genre” of music. In Hemlock Smith, I play with people that studied music and have master’s degrees, they really know their stuff and I often feel like the idiot of the bunch, but with music being the main goal, we understand each other at the end of the day. Sometimes, I want to get classes to know a bit more about scales for instance but I really think you can do it by working on your instrument by yourself. I really love the guitar and I play it everyday. Also, I really think rock music in general benefits from more emotions, more instincts and less brains, less technics.
Which bands and projects have you been in?
I’ve been in a lot of different bands, probably around twenty since 2002. I am a “hired gun” and sometimes a full-time member of the band taking part in compositions. Here are the bands in which I have played with the longest:
I played the guitar for three years in GITK, a rock/new wave band from Vevey. We recorded one album and toured around the French part of Switzerland, Paris and Bruxelles. Then the band imploded when we were working on our second album.
Right after that, I joined the band Stevans (an electro-pop band) on the bass. We played around 30-35 shows in 2014 in the whole Switzerland and in Paris as well but I decided to leave the band. The music wasn’t my cup of tea, it was far too poppy for me but it was a great experience to understand the more ““professional” side of the music business in Switzerland.
At the end of the year 2014, I joined 17F (the project of singer-songwriter Fred Merk) on guitar and played with them for around 5 or 6 years. We were playing psychedelic folk music. We played a lot of small shows or apartments gigs together. It was great experience to learn more about dynamics and soundscapes.
In 2017, I joined The Green Flamingos on bass, focusing on a 60’s soul-psychedelic-pop sounds with great vocals by Yoanna Claquin. We recorded an LP together which was released in 2021 called In The Witching Hour.
In 2019, I joined Hemlock Smith. I still play guitar with them currently. We released an LP in 2023 and we are working on new songs already.
Where did the idea come from to create the Last Wolf ?
Between 2003 and 2010 I recorded around 60 demos of my compositions. It was rough around the edges, really badly sung, recored really fast with shitty mics and very basic knowledge of mixing. It was my solo stuff called In Vitro, I played all instruments by myself (except for the drums). It was very influenced by grunge, singer-songwriter and alternative music. It wasn’t really meant to be listened outside of Myspace, haha. I stopped working on that that when I joined bigger bands and moved to Geneva. Long story short, The Last Wolf really came out of frustration with the music I was playing with Stevans back in 2013-2014 (I was not happy with the evolution of the band) and I also had a bad breakup with my then girlfriend. In 2014, I needed to go back to writing stuff by myself, focusing on my emotions but I needed to relearn that process because my music taste and knowledge evolved during those four years. The first songs I wrote and recorded for The Last Wolf was Full Time Commitment which is a very folky number from 2014.
With Lupus Nubilus you were still looking for your sound, how would you describe the evolution between the EP and your debut album, Those Days Are Gone? What led to this gradual change (musically and non-musically)?
Songs that are on the Lupus Nubilus EP (2018) were written between 2014 and 2017, I was really trying to find my sound at the time. It was hard to understand where I wanted to go with my solo project. I was deeply into the music of Mac Demarco, Wilco, Neil Young and Eels at the time, but at the same time deeply into 60’s soul and folk, 40’s jazz, 80’s new wave and 50’s rock’n’roll. I really think I found “my sound” with Those Days Are Gone. I started to feel better about my compositions and started to understand what was my music like and where I wanted to go with it.
What are your memories of writing and recording Those Days Are Gone.
Man, that was a strange time. Since Covid happened in early 2020, there were no more concerts, no rehearsals, everything was unsure and we were basically stuck at home. I decided to focus my intention on guitar ideas I had accumulated through the years in my phone or on Garage Band. I had about 15 songs demos that sounded cool thanks to the Smart Drummers program haha.
The album sees you collaborate with Kevin Ruffieux (Mount Kōya, Olympic Antigua) - how did you meet?
I met Kevin when I played my last gig with 17F. It was in Vevey for La Fête de la Musique probably in 2018. We opened for Mount Kōya on that day. When I saw their show I was impressed. Those guys were around twenty three (years old) at the time, but they sounded amazing, really mature, great energy and all around cool chemistry between them. I let them know how impressed I was and we stayed in contact on our socials. One day during Covid, Kevin let me know that he was interested in recording some drums for me. He was probably bored and stuck at home as well haha. Since all my songs were already recorded as demos I sent him the files and he recorded his drums by himself in Vevey. When he sent me back those drum files, I was excited, it sounded ten times better. He’s such a great, articulate and groovy drummer, and a really chill dude as well. I had to go back and re-record all the other instruments and vocals once again more precisely. I Thought I Knew is the only song I kept of my original recordings (with Kevin on drums). I also mixed the record myself to keep it budget friendly haha.
What are your thoughts when you look back at the beginnings of The Last Wolf?
I didn’t know what to do of that project, I didn’t care much about promotions or selling records, I just wanted to let my compositions be as I wanted to be. It made me very happy to have some people coming back to me saying : I like this one. When Kevin let me knew about his interest in the project, it really helps me build up my confidence about my music.
Another Kind of Blue - LP created by Grand Voyage Records
Another Kind of Blue
After your debut album, how did you approach Another Kind Of Blue? What did you learn from your previous recording sessions that you wanted to incorporate?
Those Days Are Gone was more of a compilation of songs I worked on before 2020. I wanted Another Kind Of Blue to be much more instinctive and fast. The songs, except for a few ones, were all created and recorded in six months. 2023 was a pretty rough year for me and my family, lots of stress, lots of new beginnings, lots of changes, songs were definitely influenced by that. I decided to spend less time on arrangements and recordings. Most of the recordings were first or second takes only. I wanted it to be rawer with less effects on guitar.
What was the writing process for the songs? Were they written on different instruments? Were they all songs which had been written since Those Days Are Gone?
It was really fast process. It’s normally guitar first but for that record I tried to write on piano as well (on songs like We Belong, The Man I Am and Cold Wind And City Lights) and on bass (on songs like Bird Without Wings and Blue Morning). I really think songs are hidden in instruments. Anytime you try a new one, a song can come out.
Most of them were written in those 6 months, the exceptions being My Sweet Little Thing and About You which were written since 2016 or something.
How did the recording work logistically if Kevin recorded the drums in Vevey?
The recording process was similar to Those Days Are Gone, I recorded all the parts as demos, sent the files to Kevin and he recorded his drums in his rehearsal space. But this time, we had Aria Konishi helping us with his knowledge of recording. That helped a lot.
What was it like to work with Aria Konishi? How would you describe his involvement in the record?
When I started to talk to Kevin about making a second LP and sending him the demos, he told me that Aria would be interested in mixing it. It was great to hear. We met and discussed about what we could do together. He was beginning to record more and more people in his “home studio”. He has a great set of ears, superb musicality, and great taste in old school soul and vintage sounds in general. We really like to geek out on guitar, pedals and amps as well. He’s an all around great dude as well plus he loves cats… he was perfect for the job. I let him know what I was looking for and let him do his magic. He mixed the album by himself, and I basically had no comments to make, it really sounded great. I was happy with the result. He also overdubbed some wurlitzer parts since he has a true wurlitzer, it’s a lot better than my plugins.
What are your memories of recording the album?
Recording was great because everything was fast, easy, raw and honest. On a personal level, it was a rough time, but music helped me to escape that heaviness. Lots of lyrics are related to people not being able to understand each other, fear of the future or the end of the world. I really felt like that during that beginning of 2023.
What are your feelings with the outcome?
I feel it sounds tight for a low budget record, recorded DIY style in my flat. Thanks again to the great work of Aria. I was also pleased to get the record mastered by Mo Talaba from Numberstation Studio who worked with the greatly missed Richard Swift.
How was it to collaborate with Grand Voyage for this album (and your first album)?
I know Loris since my Wallis days, we met probably in 2005 when he was a young punk kid. He came to our rehearsal space and we spent time together at the time. We kept in touch and when I learned about Grand Voyage it was great news. I really like the artisanal side of it and since I am a big fan of the vinyl formats it was perfect for me. With bigger structures it’s impossible to get small quantities, but with Grand Voyage not only it’s possible but you can custom your order with crazy formats, colors, etc… It’s really great because the LP became a piece of art itself. I worked with him on my three releases and I will probably work with him again in the future.
For the album, you would also release four music videos - how did you choose the images? What inspired you to create these videos?
Visuals are important in music and I really like video clip but it seems a bit outdated and it is expensive. I wanted to keep it budget friendly but still wanted to have some visuals with the music. I found some old footage that were in the public domain and did what I could by myself. I was happy with the result on And Today Is The Day, the nostalgic feeling of the songs works well with the movie.
To support the album, you also performed with Kevin and Aria as a trio - how were the concerts? How was it to perform at Waï Lam Waï ?
At the end of the recording process, Aria told me that he would be interested in playing shows on bass and Kevin was up for it too. I was afraid to ask them before…. but man, that was real dream. I always wished I could play “full band” shows with my music. I tried different people before but they were always awful “not sounding good at all” memories. So I was stuck on playing acoustic shows by myself. The fact that Aria and Kevin were up for it was perfect. At the same time Loris of Grand Voyage asked me if I would be interested in playing in Waï Lama Waï Festival. Once again it was perfect as well. It really helped us, we worked on a setlist and get our shit together. It was in June 2024. Since then The Last Wolf is not a solo project anymore but a real band.
Life as a trio/general
Disposable Waste sees the Last Wolf become a trio - how was it for you to make this step? How does it also feel to have Kevin and Aria as full-time members of the project?
It refreshing to be a trio. I really like the vibe of “being in a band”. I feel lighter since we are all in charge of our individual instruments now. When you are in a band and people are equally motivated and serious, everything is easier. Both of them are great natural musicians, cool humans and friendly people. I quickly had some new ideas. That good vibe inspired me. Since June 2024, I’ve got around 10-11 new songs. We recorded three of those songs in early April 2025 for the first time in the same space at the same time. Disposable Waste was one of them. It was a great experience. Their arrangements were perfect for the songs and it was great fun spending time in “studio”, overdubbing some voices, cellos or fun stuff together.
You also performed lately at the Dublin Castle in London. How was the experience?
It’s really hard to get new gigs in Switzerland when you don’t have a booking agent or manager. I was a bit disappointed lately because I really think the band sounds great live and I want to share that. Out of frustration, I started contacting clubs in other countries, I was really surprised when Dublin Castle answered positively. I really like places with history. It’s crazy to know that’s where Madness, Blur, Supergrass, Bloc Party, Arctic Monkeys, and many more played their first gigs. We decided to go even though we basically don’t exist in the UK. The experience was great. It was a holiday / gig. We spent some time visiting the city guitar’s shop and bao or Japanese restaurants. The gig was great as well, we played a tight gig and we had some nice comments from the audience. It was rock’n’roll as well since half of the backline wasn’t working at all haha.
Have there been many changes to your approach to song writing to adapt to the new formation? What have you noticed so far with the new collaborations together?
Yeah for sure, as I said it feels easier since I don’t have to focus on every instrument. I also like to get their feedback and propositions. I don’t really feel like it’s a solo project now, it’s a true band.
Tell us about your upcoming single, Prey of Yesterday, which will be released on 12th September.
It’s a groovy acoustic track, with a catchy melody line in the chorus. Once again, it’s one of those songs that came quickly and wrote itself. It’s about the loss of a close friend that happened last year. It’s sad, dark and tragic but the music gives it an hopeful light. It’s a tribute to him. I am really proud of this song.
How was the song written and recorded?
It came out quickly after his passing probably as a cure to my sadness.
It was one of the songs we recorded in April with the band in studio.
(The YouTube video will be embedded when the single is released)
What other plans do you have with the Last Wolf in the future?
I really want to play more shows with the band, in clubs or in festivals. I would be happy to share our music with more people. It would also be great to do more gigs in the German part of Switzerland or in other countries. I also want to go back to record soon. Hopefully with another session like the one we had in April.
What have been your highlights since beginning your music career?
It could be every time you finish a gig that went well or it could be when you release a song that you are proud of and that sounds cool.
But to be honest I think my highlight is probably now. Being able to play my music with great band mates is really something I am proud of. I really like where things are going now. I really think we are honest in what we do and we try to give our best.
What are your thoughts on the music scene in Geneva and in Switzerland?
There is good stuff around, super musicians as well, but I don’t feel like there is a true music scene around. It’s hard to get connections if you are new in town. It works with networking. There are very few pubs, very few clubs and very few small festivals to play, it’s getting harder just to exist. There are labels doing great job for their projects, but I don’t really feel connected to their music. On the other hand, there are some great festival like Antigel and I really like what people like Goodbye Ivan, Kacimi, Pierre Omer, Sunday,June or Concrete Jane are releasing. I hope to see more connections in between bands in a near future…
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