SPOTLIGHT: The Artistic Evolution Behind Scarlet Demore's "Baby Teeth" EP
WHEN ONE THINKS OF LOSING BABY TEETH it signifies the end of innocence and the emergence of a new chapter in life – and that is exactly what Scarlet Demore set out to capture.
Through their classic grunge foundation and DIY roots in the local punk circuits, Scarlet Demore excels in creating a fierce and equally exciting atmosphere as they tackle subjects like self-destruction, misogyny and intimate explorations of personal evolutions – all that take place in Chicago’s alleys, dive bars and dancefloors. The band is a five-piece alternative rock band that was formed in 2017 and consists of Cat Ayala (vocals), Alex Gonzalez (guitar), Joel Smith (Guitar), G Passaro (bass) and Angelo Santayo (drums).
Photography credit: Zeltzin Vazquez
Accompanied by a cathartic sound that commands attention, complimented by the tear-jerking melancholy that has become a staple of the midwest’s sonic blueprint, Scarlet Demore have developed a ravenous and dedicated cult following, turning heads at hardcore and indie rock shows alike. The band has created a sonic platform that refuses to be confined by genre by producing a confrontational racket that incites mosh pits in literal seconds after starting their show.
Vocalist Cat Ayala takes center stage channeling Hole’s blunt lyricism, No Doubt era Gwen Stefani’s shredding vocals and Brody Dale’s performance antics. She intimately details the struggles of mental health and self image through both primal battle cries and sullen whimpers amidst frenetic guitars and a dynamic rhythm section. Ayala plays between punchy, punk deliveries and feathery, near-whispers in the same song; it’s as though the music is heard through an intimate conversation – a confessional.
Following the highly praised releases of singles “Peaches” and “Spiked Seltzer,” the band put on a string of visceral performances; the most notable being the release shows for their self-produced EPs Please Stop Loving Me (2022) at Schubas Tavern and Baby Teeth (2023) at Lincoln Hall.
Ayala was drawn to multimedia artist Jessicka Addams after attending an art exhibit of hers titled “Please Stop Loving Me.” She grew fond of Addam’s piece that included the artist’s blood and medication bottles to portray a scary, heart-wrenching scene that validated Ayala’s decision to be vulnerable during production that later carried itself to the creation of Baby Teeth.
Baby Teeth is a raw and emotionally charged masterpiece that beautifully captures vulnerability and losing one’s innocence. Each track on the EP feels like a window into the soul, as the lyrics and melodies capture the fragility and uncertainty of youth, like the tender moments of losing one's baby teeth. At the same time, the band's skillful instrumentation and bewitching vocals add a layer of artistic prowess that channel these vulnerabilities into a source of resiliency.
“I feel really grateful to be in the band and I’m blown away everyday by how talented and incredible they all are,” Ayala says. “As far as the title, when we finished the first EP, I immediately had the name ‘Baby Teeth’ in my head because it felt like the band was just about to get their baby teeth in. We just started to learn how to write with each other and understand how we work as a team. It felt like the start of something new and precious.”
As the lead track of the EP, “Wendy’s A Pisces” grabs listeners by the throat as Ayala starts the song with “give me a good reason why I shouldn’t punch you in the face,” and immediately dives into an explosive melody that radiates an infectious energy, making it impossible to resist dancing along. The songstress presents a vulnerable rarity that calls someone out for not changing their behavior, so she demands they give her a good reason why she shouldn’t go home – a story we’re all too familiar with. Santayo carries a distinct mastery for “Wendy’s A Pisces,” infusing the song with a rhythmic dynamism that propels the energy to another level.
Ayala’s guttural screams paired with nihilistic sentiments in “Dead Men” bear a striking resemblance to the fierce and unapologetic style of 90’s female-fronted bands such as L7 and Babes in Toyland. This song in particular carries an impactful experience that is raw and heartfelt as it resonates for many women as Ayala delves into themes of abuse and manipulation at the hands of men. She strikes a resonant cord with countless women who have endured similar experiences, amplifying the song’s emotional impact. She sings, “When I was a young girl the big boys hit me / They told me not to worry cause they like me / Boys will be boys / You should really be grateful cause the boys think you’re pretty / So baby say thank you.” Ayala unleashes a dominant, jarring scream that pierces through the song, mirroring its intense, chasmic depth and suppressed experiences.
“Wish You The Best” holds a boundless youthfulness that celebrates the energy of punk while being reminiscent of staple early 90s shoegaze bands. The track showcases Scarlet Demore’s creative flexibility that makes them maintain a standout presence in the scene.
The closing track “A/B” is the band’s personal favorite because it was the first song that everyone had a big role in creating as a fairly new lineup.
Photography credit: Alina Pawl-Castanoñ
“We can all agree that ‘A/B’ means the most to us,” Ayala says. “Lyrically, it means the most to me. I wrote it when I was in a really tough situation and was grasping at straws trying to figure my way out. I wrote down everything I was feeling without hesitation or self-judgment and it was incredibly cathartic. It brought back purpose for me in writing. I got to remember why I started doing this and that being vulnerable doesn’t equate to weakness and it offers a lot of healing.”
“A/B” undergoes a sonic transformation, embracing a more aggressive and hardcore soundscaping that pushes boundaries of their previous releases and ignites a fire intensity which gives the project the perfect closure. The lyrics, “maybe healing isn’t my strongest suit / But I would tear myself down just to go back to you,” capture an intimate confessional that’s backed by Ayala’s personal chronicles of not wanting anyone else and that she would cut herself on angel wings and break her bones. “A/B” masterfully crafts a cathartic atmosphere while seamlessly delivering a powerful musical experience that’s equally aggressive but balanced admirably with a unique-spirited, emotional aura.
Speaking from personal experience, to be at a Scarlet Demore show means truly immersing yourself in a tight knit community that supports every show and is eager to start the most chaotic pits in literal seconds after Ayala sings the first note. You see familiar faces at all the shows and no one is a stranger in the crowd, which makes the atmosphere even more beautiful and heartfelt.
At their sold-out EP release show at Lincoln Hall on Sept. 1, the community came together to celebrate another huge milestone under the band’s belt – back-to-back sold out EP release shows in just under a year. Fans were adorned head to toe in Scarlet Demore merch with tears in their eyes while aggressively headbanging and screaming the newly released Baby Teeth lyrics, that mind you, were only released a few hours before. Scarlet Demore took center stage and said their gratitudes for the community and how it’s rooted in love and support.
To be a fan of the band, means you are in a community that wholeheartedly supports its artists like no other. In the spirit of DIY, the Baby Teeth EP is a testament to Scarlet Demore’s ability to channel their innermost emotions and experiences into a compelling musical journey, leaving listeners both moved and inspired.
