In 'Good Girl', Scrimshaw Porn, the solo endeavour of Nick Helgesen, delivers a bold commentary on gender expectations, wrapped in a layered indie pop framework.
From the first note, the track feels like a vibrant homage to the '80s, with its shimmering guitar tones and atmospheric synths calling to mind The Cure, while the inclusion of saxophone injects a warmth reminiscent of late-night radio classics. The piano, however, grounds the track, offering a melodic clarity that intertwines seamlessly with Helgesen’s playful yet biting lyricism.
Inspired by a 1956 ‘good housewife’ guide, Helgesen crafts a song that’s as much a critique of past ideals as it is a reflection on their lingering presence today. The juxtaposition of upbeat, almost danceable rhythms with pointed, sarcastic commentary on misogyny is a masterstroke. Helgesen’s vocals, crisp yet emotionally charged, glide over the complex instrumentation with ease, guiding the listener through a narrative that is equal parts satire and social critique.
Scrimshaw Porn’s eclectic influences, from sci-fi to live comedy, subtly colour the arrangement, giving 'Good Girl' a textured, multi-dimensional feel. As Helgesen continues to challenge conventions, his upcoming live shows are sure to be as immersive as his recordings.
'Good Girl' offers a sharp critique of outdated gender norms, drawing inspiration from a 1956 housewife guide. What was it about this particular piece of history that resonated with you, and how did you translate those feelings into the sound and lyrics of the track?
I see the social trajectory we seem to be on as Americans and am incredibly disillusioned. It has become easier and easier to find widespread social media and news content that is not factual, is ultra biased and serves specifically to further self interests. These distruths are intended to misdirect. In contrast to fostering a healthy, open dialogue, they bolster prefabricated opinions and splinter us. As people are blindly duped into opposing factual reality, they gather resentment and hatred for others with whom they actually share most values. This content also makes things appear much worse than they actually are, leading to a longing for the good old days and a need to blame someone for why things have changed. Big pic is that the disinformation that is spread as part of our political landscape is like a virus that creates hatred, largely manifesting itself in misogyny, a hallmark of the bygone era when females were to be seen and not heard and kept in their place. When I read the 1956 guide on how to be a good housewife, from which the Good Girl lyrics stem, it became clear that there is a prevalent mindset of a desire to take us back to these times. It’s gross. Not that I’m massively political, but for instance, the overturning of Roe vs. Wade is staggering to me. I find it unfathomable that any female or anyone who has respect for any historically underrepresented group could be on board with the current conservative agenda. I guess Good Girl is a sarcastic venting of sorts and a protest against outdated gender norms. I hope that we take a turn for the better.
Your music has always had a personal narrative element, but 'Good Girl' feels especially pointed in its satire - How do you balance conveying a serious message with the biting sarcasm that characterises this track?
Most people who listen to this song will hopefully grasp that it is sarcastic. Not only would I never expect my meals prepared for me and on time, I would never call a woman a “good girl.” I think the seriousness of the message is simply timely. It needs to be said now and irony works well as a delivery mechanism.
Can you walk us through the creative process behind the instrumentation for this song, blending piano, electric guitar, sax - how you decided on this particular sonic palette?
Actually, after smoking a bit of weed, hanging out with my sister in my recording studio, I just began banging out the lead pluck synth line. It is in its original form. Next, standard percussion, -kick, snare and other drum patterns, followed by interesting percussive sounds that serve largely as transitions from bar to bar or verse to chorus and so on. Since I don’t play bass, I often use low arpeggiated sounds to fill in these frequencies, as was the case for Good Girl. Accent sounds and samples came next and once in the studio, I sang, did a little beat box and laid down the ending piano melody on the beautiful Wurlitzer grand (what a pleasure to play it!) Incidentally, the lyrics came together prior, at home, in less than five minutes with very few tweaks. It just seemed to go this way for the entire song, including Mark Purrington actually doing the complete drum track in exactly ONE take. Our mouths were agape -he is an absurdly great drummer. Trevor Kellum was responsible for the perfectly classic sax lines in the choruses and Matt Ricci, my co-producer and engineer, is an excellent guitar player and filled in the funky electric last, as accents. Like almost all of my songs, Good Girl wrote itself based on my mood and great input from my players.
'Good Girl' draws parallels between mid-20th-century gender expectations and some contemporary political rhetoric; How important is it for you as an artist to engage with current social issues through your music, and how do you hope your listeners will respond to this track?
Again, I am not terribly political but getting increasingly concerned that we seem to be hurtling towards a reality that is closer to The Handmaid’s Tale than it should be. Who exactly decided it would be a great idea to have Donald Trump walk into the Republican National Convention to “It’s a Man’s World” playing? WTF. And given the gravity of our next election, why is everyone not incredibly offended by this?? Although a lot of my music is apolitical -whimsical or naughty or fantastical, I guess I hope that Good Girl sheds some light on where we are heading and why.
How did your influences - from The Cure to LCD Soundsystem - specifically play a role in the creation of 'Good Girl,' and what unique elements did you bring to the table to make the track distinctly Scrimshaw Porn?
I love those bands. I have never heard a track from either that I don’t like -incredible writing, great storytelling with poignant lyrics and sonic landscapes that you want to experience over and over. In particular, the synthetic element of both and many other acts has continued to be a huge influence on my writing, including Good Girl. I find that there is an ever increasing amount of freedom to create better and better songs in the digital realm as tech improves and my own songwriting evolves. I hope that the unique combination of samples and sounds in Good Girl mixed with great playing and a real and timely message will be well received. Thanks to all who listen!
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