WHO SHOT SCOTT is the musical project of Zaidoon Nasir (he/him), a producer and experimental hip hop artist based in Tāmaki Makaurau (Auckland). WHO SHOT SCOTT's production packs a punch, with heavy 808s intertwined with bass that make promises to make subs groove. Lyrically he finely balances bravado and braggadocio with vulnerability and introspection, resulting in a brave creative philosophy that is present throughout his entire catalogue.
Today WHO SHOT SCOTT shares his latest EP MERCY III, and the final single MOTHERS EYES. The latter is accompanied with a music video directed by long term collaborator Connor Pritchard (and made with support from NZ on Air Music).
MOTHERS EYES is the emotionally charged new single showcasing WHO SHOT SCOTT using a sonic palette unlike he has ever done before, while still remaining true to the experimental production that his fans have grown to love. With some of the most vulnerable lyrics he has written to date, WSS states: “This track is about the strides in self growth that I have made within the past couple of years. Prior to releasing music as ‘WHO SHOT SCOTT’, I went through a series of traumatic events that seriously defined me. Toxic relationships, being betrayed by friends who I considered family, and the complete destruction of the false identity I had built within myself during my early twenties. I felt that change was needed, and the transformation I went through forced me to come to terms with a lot of my deepest insecurities. Within that process however, I realised something beautiful - I saw how much I loved expressing myself through art, and it was clear to me that up until that point I had been making music for all the wrong reasons. Reasons such as seeking validation and superficial gains which all served to tarnish my inner child-like creativity. With this new found clarity, I’m giving myself one more chance to do it right, on my own terms and without compromise. I hope that in return the candidness of my fearless expression will shine through and the listener will see my soul clearly, almost as through my own mother’s eyes.”
MOTHERS EYES is the final track to be released from WHO SHOT SCOTT's latest EP MERCY III. Serving as the third chapter of his MERCY trilogy, this project showcases the artist presenting himself in some of the most captivating colour palettes to date. Combining the most vulnerable parts of his inner soul with intensely frantic, gritty and distorted production, this MERCY III will have listeners dancing and head-bobbing while potentially also reflecting on their own childhood trauma and insecurities. With experimental vocal performances such as ASMR inducing whispers, juxtaposed with exceptionally loud punk-rock screaming, WHO SHOT SCOTT’s new EP hears him delve into themes of deep reflection, and finding acceptance in one's own vulnerabilities.
“This is my self-observation project. This is me taking a long hard look at all of my pain and putting it into my music. I’ve suffered so much with anxiety, paranoia, cynicism, and self doubt throughout the past few years. I used to hate myself for it and it truly used to torture me until I finally realised that every single one of my flaws is a super power within itself once connected to a healthy outlet source like artistic expression. I’ve finally accepted that my short-comings are a fundamental part of my default programming, and while they may be the reason I often suffer - they’re also the reason I’m able to exhibit my soul in a meaningful way through art. To stray away from this would be a complete disservice to myself. I’m happy to say that I’ve journeyed to a whole new level of self-kindness. I love all the fragments of me, the good and the terrible, I welcome it entirely.”
With an unshakable commitment to authenticity and courageous expression, WHO SHOT SCOTT is cultivating a tidal wave like cult-following within his community and around the globe. It is clear now that this is just the beginning of something much greater. It’s more than music - it’s an ode to embracing the natural human experience.