Some time ago, Rockstage Brasil published a feature on the new rock bands from the Northwest of the U.S.—with a special focus on Seattle, the birthplace of grunge (click here to check it out). Among so many great names, one caught our attention: Cameron Biscarret and his project The Holy Loyal. Now it’s time to dive a little deeper into the story of this remarkable musician.
Cameron, tell us a little about your career. Where and how did it all begin?
My career started when I got my first guitar at 6 years old and started learning Beatles, Neil Young, and Robert Johnson songs. At 9 years old, I started playing shows, playing in various shady clubs and festivals, wherever and however I could. Somethin’ was calling me so I’ve spent my whole life chasing it, now I’m here…
What are your main influences?
I take influence from so many things, man. The Grays, Jellyfish, Queens Of The Stone Age, Wu Tang Clan, Tears For Fears, Rihanna, Teenage Wrist, Sunny Day Real Estate, Avett Brothers, the list goes on. Anything that feels good, and makes ya wanna shake ass and hang is a good time to me
You were present, playing in Seattle, the birthplace of grunge. Can you draw a parallel between the early ’90s and the region’s current music and cultural scene?
I feel the platform for what we have today was definitely paved at the alter of rock ‘n’ roll by the obvious greats (Soundgarden, Alice In Chains, Pearl Jam, Nirvana), but what I see going on right now closer resembles that of a struggling “scene”, pre-grunge. People in this area are afraid to sound like themselves, and really sound like anything but, and there are mere traces and decimals of influences left from the grunge greats like Screaming Trees and Kyuss. Reminds me more of the end of grunge, from what I’ve heard and recounted from retold stories, circa ‘95/‘96 than its booming era that came before me. The area is a little… very dead right now.
The Holy Loyal and their debut EP, Willow, released in 2024, were mentioned in an article showcasing the current Seattle scene, but I have to say, it was a big surprise. Great tracks and production. Tell me a little about the album and the writing process.
Cheers, man. That record was the first step in the process of artistic puzzle solving for me. The writing process was very trial and error. A lot of drugs, sex, and growth went into that, and out of it came what we know of it. The era of which is takes place was 2019-2022, a very shaky, daunting period for me of which I’m surprised I made it out alive and unscathed as I was… minus a few broken bones I’ve heard different accounts of how I got…
It’s a very sarcastically self-sympathetic record, I was definitely in a real rough spot psychologically when I wrote it…
The Holy Loyal is your project. Who are the current members when they perform live?
Currently TBD as far as the full line up goes, but Malcom Monaghan (Kingfish, Lee Oskar, Tony Coleman) handles the drums, both live and on the upcoming, yet to be announced record.
The next album is coming soon and there’s already a new single. Will it be part of the album or is it a standalone release?
It’ll have its place on the next record… won’t give away too much but It’s a dark little number before the groove and dance take its place.
Listen to “No More Time” on:
Does the next album revolve around any specific theme, any inspiration?
Earlier this year I spent a lot of time out in the desert (Chandler, AZ, among other areas), finding myself and losing someone else in the process, and finding out just how close you can get to death before you truly get to it… this record revolves around themes of accidental overdoses, back and forth contrasts of the highest you can get and the lowest you can sink, and just trying to find truth and earnestness amongst the rubble of life at points. Sometimes the only way to find out who’s there for you is to have nothing left but who you are and the words in your vocabulary, and this record angrily reflects that. It’s both a reflective record, and the first step forward when you’ve finally decided you’ve had enough, the immediate “cut and run” with death behind ya…
The desert’s an interesting place, man. It’ll ground you whether you like it or not, I love the choiceless-ness out there. Your survival becomes sur-thrival if ya can cut it out there…
“One More Time” is a beautiful track. You’re a multi-instrumentalist. But let’s talk specifically about guitars. What’s your current setup in the studio and live?
The guitars were an interesting journey to capture. On “One More Time”, I’m running my ‘56 Esquire through a Vox Superbeetle (V1141) through a Peavey Classic 30 cab with an Octonaut Hyperdrive, since it does the “Klon” thing, in front of it, a trick I picked up from Brent Bergholm.
All the fantastic mixing and production on this record was done by Jimmy Naron, who I’ve known for years. He makes it all sound great.
What are the highlights of your career so far?
Hand to god honestly, getting to play music in a general sense is a gift anyone and everyone should be grateful for, and that’s been a massive highlight for me. It’s power, it’s presence, it’s healing and holistic properties are beyond compare when it comes to experiences. The only real reason to do this is because you enjoy doing it and only that, to quote the great Josh Homme…
That said, there’s too many to count so far. Ripping a gig with Wee Man was cool…
Can you name some bands or artists in Washington that you consider promising?
Asterhouse comes to mind. An absolutely incredible blend of sarcastic strut and gut-wrenching honesty. Some of the nicest cats I’ve met in this game, and truly deserving of any success that comes their way. I could spend this whole interview talking about those sex symbols, but listening to “Boom Boom Boom” can do the talking for me…
Some other ones I absolutely adore as Punish The Scribes, Hiram B Freedom, A Dozen Fiascos, Charlie Drown, and Ghostpets. Punish The Scribes is a monstrous force in and of itself, and a big influence on me if you know what you’re listening for… I owe Tristan McNabb a life debt of gratitude for all I’ve learned from him, and the friend he’s been. He’s my favorite sweethearted asshole.
A Dozen Fiasco’s is my brother from another mother, Jimmy Naron’s band that has been a constant inspiration to push the boundaries of sound and break the rules while laughing at the general notion that they exist at all, the rules are so irrelevant to him and I so love that. Jimmy is self produced as well (you hear him on drums on “One More Time”) and an outright master of every instrument he touches. It’s brilliant, man. When I grow up, I wanna write songs like A Dozen Fiascos!
You’ve performed on some iconic stages in Seattle like El Corazon (formerly The Off Ramp), what can you say about that experience?
Each stage is its own landmark, and its own temple to me. In the spirit of getting to do what we do and being humbled enough to do so, every show has its own merits. Getting to rip a show with CW Stoneking at Tacoma’s Alma Mater was a trip, same with flying out recently to do some shows in Tucson. Whatever it may be, being fortunate enough to get to play music at all on such stages is always a great reminder what of it means to be alive, breathing, and purposeful in being such.
What’s the title and what tracks do you consider to be highlights of the new album? When will it be released?
I can’t say too much about it yet, but hopefully soon, right? That’s always the goal.
It’s a very inspired, fast moving record that really sets itself apart from my first child, so to speak (“Willow”). The only thing you can do when shit hits the fan is bury yourself in a studio and hope for the best.
Thematically, it’s not so linear this time around as much as it is short warnings and red flags. A lot of crossing my own lines and ending up in someone else’s hell. I’ve been subject to some of the most gorgeous sights in my life recently, but equally paired with anxious, strenuous, downright frantic disasters for balance… goin’ too far with somethin’ too close for too long and ending up somewhere on the other side of it. “What the fuck was that and how do we never do it again?!” is a big question on this record…
And I’ll let on this much… all of the aesthetics from this album cycle are pictures I took in that time period. They all represent a different struggle…
Thanks, Cameron!
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