Wide Awake Festival, Brockwell Park -3/9/21 -Live Review

Photo by Max Styles

I’ve been to a fair few open air festivals in London before, some great and others not so much. Brockwell Park is a gorgeous location for a comeback day gig, situated just outside of Brixton station and brimming with lush vegetation. The lineup for Wide Awake was announced pre COVID back in 2019 when all we had to worry about was the tories getting back into power. Despite the bill being fairly different to the one initially announced, having The Windmill represent the main stage was a welcomed addition as well as being fairly surreal given how tiny that venue is. At this point however, I think it’s hard to be fussy when we’ll take anything over spending another 18 months watching Netflix, wanking and drinking ourselves to oblivion in our rooms.

Arguably the biggest guitar band in the country as of 2021, IDLES opened the main stage to a hungry audience, as push pits and bodies galore bopped to the likes of “Heel/Heal”, “Never Fight A Man With A Perm” and “Model Village’. The latter of which vocalist Joe Talbot had to explain what the song was about as apparently certain nerds online couldn’t seem to understand. As a band who’ve faced backlash for not being working class enough or apparently ‘appropriate’ punk culture, none of those factors mattered here as a wholesome lunchtime mosh was had by all. The brief Oasis cover was a tad cringey but that’s just my bias for hating anything to do with that band. Thankfully they redeemed themselves by closing on “Rottweiler”.

The plan was to see Porridge Radio afterwards, but finding the stage proved to be too cumbersome, it was bloody boiling, and we’d already missed half their set wandering around, so we opted to stay where we were. 

As my editor (James) pointed out, having IDLES on early as they drove down the M4 to headline in their hometown meant that it allowed other adjacent bands in their scene to have a bigger audience than usual. That being said, Brighton’s Squid’s were polarising to say the least. I’m usually a big fan of bands that have their drummer be the foreperson of a band, with Ollie Judge’s cynical observations and shrieks filling out the field coupled by Squid’s craft of song build ups. However, with only “Peel Street” and “Narrator” showcased from their latest album, along with even more new material sandwiched in between their older hits, a fair few audience members walked away midway through their set, and those who stayed were not quite sure what to make of things. 

Heading over to the So Young tent, a sizeable audience clambers in for Preston via London’s White Flowers. A dreamy three piece with tunes reminiscent of early Beach House, with gorgeous textures and floaty vocals. A sea of dads and Goldsmiths University types reacted well to the hazy instrumentation, albeit with some odd headbanging. James said his ears hurt because the bass drum was inexplicably the loudest thing on stage during their set. In his defence, he was being very brave about it. 

Back over to the Windmill main stage again, PVA’s glistening electronic musings make a nice break from the death by post punk mission that seems to be on Wide Awake’s agenda for today. Exploding one moment into a cacophony of noise to a gentle lul in the next, the dance group’s use of layers create a vibe that brings out the natural hit serotonin in the middle of the day we’d all been craving. 

Photo by Max Styles

Given the Sonic Youth comparisons made about Dry Cleaning, I was stoked to finally check them out, however we opted to go see Goat Girl on the mainstage instead as meeting up later may have been a bit difficult. There’s only so many times you can say ‘I’m by this tent’ and lose your mates entirely so it wouldn’t have been worth it. The South London ensemble, along with an extra violinist were unexpectedly drowned out by the quiet mix on stage, and crowds of people talking loudly to their mates over some of the slower jams ruined the atmosphere for me. It goes to show that some artists aren’t as effective on outdoor stages as they are in packed tents, and unfortunately this was absolutely the case here.

A nice surprise came from art punk weirdos Snapped Ankles, strutting their stuff at the Moth Club tent and bringing the weird vibes to us in the afternoon. You can’t quite put your finger on why they’re so enjoyable to watch, but their woodland aesthetic, blistering keyboards and genre blending madness makes them hard to not absolutely lose your shit to. If those watching Goat Girl looked too cool to be there or give a shit about any of the bands, the audience for Snapped Ankles is the complete opposite of that, with fans shamelessly throwing their mates across the tent, dragging strangers into the fold too.

With the sun gradually going down, Black Country, New Road treat us once again with the crowd warming playfulness of “Instrumental”, as a sea of gun fingers and men in bucket hats on shoulders dance their backs off. For every delicate introspective moment from newer cuts like “Goodwill Hunting” and “The Place Where He Inserted The Knife”, a sea of bodies bounce in unison for “Opus.” It’s surreal to witness a band who once could barely fit on the same stage together have such a visceral reaction from the crowd. 

Earlier that week, Black Midi announced that a string of shows had to be cancelled due to frontman Geordie Greep’s doctor advising him not to play following a throat infection. It was a nice surprise to see that not only did BM commit to their Brockwell Park set, but Greep was still as unhinged and bombastic as ever. He even managed to fit in a play scuffle on stage whilst bassist Cameron Pitcon seduced us with “Still” a country flavoured ditty on banjo. With some assistance from BCNR, the post punk giants combined forces together to deliver a truly memorable performance, never being able to sit still for too long before overloading our senses. Artists that are this unconventional and eccentric never usually achieve this level of success past a niche audience, but with both groups being nominated for Mercury prizes and playing bigger venues with each year, it seems like nothing can stop these incredibly talented people with so much potential.

If anyone deserves the first prize medal for today however, it was always going to be Shame. Frontman Charlie Steen points out that all the members had been going to Brockwell Park since they were kids, I can only imagine how euphoric it must have felt for them to headline a festival in their childhood playing fields, 10 years later despite the world still undergoing a pandemic. Tracks like “6/1” and “Nigel Hitter” are played ever so slightly faster than their recorded counterparts, but that tempo change makes all the difference. Drummer Charlie Forbes channels Steven Morris with his extremely tight drum fills, never missing a beat and adding an extra layer of ferocity into the fold. Steen has the crowd at his mercy, as circle pits and crowd surfers galore amalgamate into a whirlwind of chaotic energy. Blending newer tracks from Drunk Tank Pink with older cuts from Songs Of Praise, the moodiness of their stage presence was balanced with pure aggression. Ending on the cinematic turned cacophonic “Station Wagon”, the existential nature of the final lyrics “Won’t someone please bring me that cloud, move that cloud, join us on planet Cluj” encapsulate a true sense of unity that Wide Awake managed to accomplish today. 

Photos by Tia Bryant / Max Styles / James Pearson

Our Walking Talking Marathon with Drug store Romeos

The London via Fleet hypnagogic three piece sit down with us to talk about where they came from, their debut album The World Within Our Bedrooms and their love of Beach House.

Apologies if you’ve been asked this question over and over again but given that I’m also from a small town in the middle of nowhere, tell me about your experiences growing up in that environment?

It was an isolating place. Before I met Johnny and Charlie, I didn’t really know many people in my town at all.  So I was spending a lot of time in my bedroom, making a more vivid and exciting world and more life that felt more like I fit within my own company. Meeting these guys as well, we found out we lived like 5-10 minutes away from each other. So it kind of became this triangular life of like, I’m here, Jonny’s there, Charlie’s there, just kind of going like this back and forth. We all just felt like we didn’t belong in Fleet at all, using music as an escapism and trying to make a world where we all felt comfortable. It just wasn’t too much of an inspiring place to grow up in and kind of having to find that motivation within ourselves I guess. 

What sort of reactions did you get from audiences when you initially played on mixed bills across London?

We’ve had quite a variety of different responses over the years. You can get variation from that from a singular crowd specifically to see us as well. People have been honest and said it’s not for them but others who’ve been surprised and gotten into what we do which comes with the nature of being on a mixed bill. We’ve also had people give us feedback, shouting stuff like “MORE CHORUS” at Charlie. We get a lot of comparisons to acts like The Cranberries and specifically the Twin Peaks TV show soundtrack. We don’t get that as much anymore as I feel like we’ve evolved the sound. But we’ve rarely ever played with many bands that we share super common interests with. We did however play with a band called The Goon Sax where more things alined together. The funny thing is, we kept in contact with them and they’re now moving to London, we even ended up releasing our albums on the same day! 

Oh, awesome!

I think even though we ended up playing with more punk bands and aggressive shit there’s a crossover in interest when it comes to post-punk and slowcore where we fitted in more easily. A lot of people that were going to see the heavier bands definitely were already accustomed.

The track that stuck out for me the most was “Walking Talking Marathon”, where did the inspiration for that song come from?

That song was written over lockdown in about four minutes, it was all improvised. I had been watching this mockcumentary by a man called Peter Greenway called The Falls where he goes through a list of all these peoples names, the last which begins with F A L L, they’ve all been a victim of this thing called the VUE, which has made them have all these strange tendencies. They become obsessed with birds, have an extra sense of smell and start talking in weird colloquial languages. So I was watching that and all these words started popping out to me. I like to try and reduce as much friction between me and the melody and the song as I can. And if I have these words in front of me, my mind tends to pick them up and buttons of association and there’s associations in my head normally come from things that have been going on in my life and are a way of expressing yourself in a very abstract way. I had my Korg machine going and essentially not much of it changed apart from in post production where a few harmonies were added in later. I altered like one or two words but that’s about it. I was listening to a lot of Algebra Suicide at the time and wanted something more playful on the album really.

So would you say that the lyrics are mostly autobiographical? Or do they sort of exist in their own medium.

There are moments in there which are definitely about me. Maybe the bit about the clouds and losing contact with the party friends. And then you have, like a bit about falling in love and, and you know, “Let’s be a collective now”. And then going on to walking and talking marathon, which is kind of, to me, it’s kind of like having someone falling in love, having that beautiful back and forth. Because the sound kind of goes back and forth a little bit, and kind of meanders around those words.

There’s a few songs that incorporate stop-start elements in the structure, what was the thought process behind including those?

It’s interesting that seems to be something that some people pick up on, because I don’t think we ever really thought about that at all. It’s just like, you know, when you write a different song, I guess the process of songwriting, you write sort of sections of songs, and then you end up just combining different sections. It’s not just because we think, oh, we might combine this section, this section and there be different tempos and then, yeah, that’s quite boring. It’s true. It’s an honest answer. Like, when we were recording I didn’t even notice it that much really. 

It’s one of the more interesting ways to write dream pop for sure, it reminded me a lot of Black Country, New Road minus the sheer abrasiveness and confusion. 

I just saw it being mentioned in reviews quite a lot and, like “Secret Plan”, I guess. We thought a lot about the flow.  So trying to view songs in a rhythmic dance the way I suppose. If you’re dancing through a song, it’s nice for the tempo to increase a bit and stuff and go around. Like in “What’s on your Mind?”, the end part where  it does speed up a lot, we didn’t have that part until we got to the studio, we had everything else. And then it was the second song we were recording.

Do you take advantage of that in live scenarios?

I think we want to experiment a bit more with that, actually, we want to, I guess we’ve been thinking about it for a while of having our songs flowing more into each other live. It’s like turning the lights on sonically. The Orielles are a great example of a band who do that well, we’re always thinking of ways to present our recorded music differently live to bring about unique experiences. 

How did you all get introduced to the genre of dream pop? These days it’s a lot more understood in the mainstream but 10 years ago I feel like Beach House were still fairly niche. 

I felt totally in love with this girl when I was 15. And we would talk quite a lot, she recommend this album called Depression Cherry by Beach House. And then a week later, I was going to Brighton with my parents and we went to a record store and I saw it there. And I was like, “Oh, maybe if I listen to her, she’ll fall in love with me as well”. I listened to it. I really loved it. She didn’t fall in love with me. And then we stop seeing each other. That’s the story really!

Yeah I think people need to get over this worry of not seeming cool for getting into a genre through a big artist.

It’s a shame when people do that, they just want to be like “Ooh I listen to music that no one else knows about” and when they suddenly get big they deny ever liking them in the first place. 

Pre COVID, what was the biggest show that you played?

We supported The Orielles at Manchester O2 Ritz in February 2020. That feels like a complete lifetime ago now! 

Were the socially distanced shows weird for you?

Yes, I think we were all terrified. The whole time I was like “If I leave the venue now is it all over”? This was the first time we’d also played for over an hour, normally it’s like 35 minutes or whatever but yeah I was scared the whole time and never really had a chance to calm down. But I know it will get easier over time and to be honest I feel like when people watch us they don’t really know what to do with themselves standing, so a seated audience actually worked a lot better in our favour. At the same time though you can’t really feel the energy of the audience in the same way, it’s a lot more dispersed so I think we ended up feeling a lot more lonely on stage if that makes sense? 

What are your plans for the rest of the year? 

I think just more gigging and recording really, there’s plenty of people that we want to see and it’s nice to have a human interaction in regards to people enjoying what we’ve made! Every time we rehearse we always stop what we’re doing to make sure someone at least has a phone recording for next time. 

The World Within Our Bedrooms is out now, purchase here.

Amyl & The Sniffers bring back comfort to us

Photo by Jamie Wdziekonski

Self described as like the 30 second headache you get from snorting a popper from a dodgy corner shop, the Australian punk quartet talk to us about their new record, life on the road pre COVID and the current state of live music in their home country.

The new record Comfort To Me comes out in September, how will you keep yourselves busy until then?

Ah, I’m just excited to be doing stuff again. I like being really productive and busy, so it’s really nice that I have emails to reply to and interviews and shit. I’m really just excited for people to hear the music I reckon. In-between now and then we got this single, “Guided By Angels”, and then we got a couple others coming in before the album said, it’s just that kind of cool shit, I guess.

What’s your most pissed off track from the new record?

I feel like all of them have the flavour of being pissed off in my humble opinion. I feel like Nazis do stuff in a way where it’s genuinely upsetting but then there’s songs like that “Don’t Fence Me” in which is a liberating pissed off where it’s like, “I’m so pissed off that I can do whatever I want and fuck, cunt”. I’m going to live free and ‘Capital’ which is like the world’s really crazy and I’m just a flesh sack on this rock doing whatever I’m doing.

I noticed that you’re not all living together in the same place anymore, what’s that been like?

It’s nice, I think it kinda needed to happen really. We had just got off the road, touring non stop for two years which meant not having homes. And then we went into a house together for a year locked down, like, fucking locked down, but it was sweet during lockdown with the rest of the band. We were so comfortable with each other. And we spent so much time with each other. So doing lockdown together was fucking actually real, real sick. But then yeah, it’s nice to have your own space. We are all pretty much the same person, we all saw the exact same things every day all our senses were like, shared. So there was nothing that anyone could bring to each other that was new. We couldn’t be like, “Have you heard this band? Or have you met this person?” Because it was just us, forever.

Amy, out of both collaborations you did with Sleaford Mods and Viagra Boys last year which one was your favourite?

Funnily enough, both experiences were pretty similar because it happened during lockdown. So I just had a little recording setup at home. And I’d just go over and over and over and over again, just in my head being like, “Well, that take is fucking shit”. But they were literally exactly the same. And then the Viagra Boys one was different because one was a cover. So that was just lyrics already written that I was singing along to. And then the Sleaford one was an original. So I got the Sleaford lyrics a bit and took a bit more time with it and stuff without pre planning because I’d like send over a demo of like, “Oh, Jason, what do you think is like, to be honest, I think it’s the bottom of the barrell”. And then he’d just be like “No worries. I’ll try again”. And the videos were filmed on the same day, just one after the other with a slight outfit change! 

How did your friendship with Georgia Maq (Camp Cope) come about?

That’s a pretty new friendship, I don’t know how it happened. I think the first time I met her I was at a shop in Melbourne. And she’s like, “Hi, I’m Georgia”. It was literally just something really simple like that. We just knew each other from like, peripheral, but she said hello first. And then after that, we’d just message on Instagram, reply to each other’s stories, like emojis and stuff and, and yeah, we’ve just been hanging out here and that which has been pretty nice over the last year. We went to get our nails done the other day, actually! I think she’s a great songwriter and lyricist. So yes, I love Camp Cope. I feel like I’m listening them as someone in a band with entry level understandings of social issues and stuff like that. But I’ve always been drawn to the way Camp Cope can articulate their politics and stand up for stuff all the time. And it’s really inspirational because I don’t know a lot about that stuff. But I actually learned a lot from people like that. And bands like that, who like, take the time to share information. So that’s another dope thing about them.

If you could pick a dream lineup of Australian bands to tour the world with who would you choose?

We’ve been jamming EXEK a lot, they’re fucking sick. We love Total Control a lot, they’re so much fun. There’s also Concrete Lawn from Sydney, also Low Life, we’re big fans of them and vice versa. Australia is actually pretty small so any band that has over 100 followers on FB or more than 10 people who go to their shows, you kinda just know them. There’s a good chance you’re friends with them or if not at least mutuals!

What was it like to work with PHC Films for the “Guided By Angels” music video?

It was great, it’s a lot of fun to work with them. It’s all one big crew and we’re pretty good mates with them. John Angus Stewart, the main guy who runs the company is super talented and a very, very hard worker. I think we’re planning to work with them for all three of our singles too. We just did one on the weekend. That was pretty crazy. So I don’t know if I can tell you much about it. But it is intense to say the least! I ran and jumped onto a moving truck. They just make these really cool things and they work really well with challenges, especially working within small time limits. They’re just different to everyone when you work with them because they, come to you with an idea. Then that’ll be that kind of thing rather than a collaboration soon away. It’s their own kind of special work and it’s pretty cool.

What influences did you take instrumentally this time around?

With the songwriting it’s not influenced by any kind of one specific artist. I’m not good enough at playing bass to be like, “Maybe I can like oh, fuck around with a quick punk song” or something or this, then I kind of just just a lot of just nailing lay and lock down a lot of noodling around. And also, in comparison to the last album, I was playing around for a considerable amount after that. And then just from the sheer numbers of shows, we all improved as musicians as players so much. So then that just kind of like the natural progression after that, of just improving just our instruments, then it’s just kind of gone up a step in like, riffs and whatnot in composition.

You said prior to 2019 you had never toured that much. What lessons did you learn over that two year period?

So we started in 2016 and then our first overseas tour was in 2018. And before that, the longest tour we’d ever done was like five days over like a month. We couldn’t sell out in the country towns at that stage and stuff so and that was just supporting somebody else anyway. And then all of a sudden that was like, we got to London and stuff and played some gigs and they’re all like chock a block. It was like, “Well, this is pretty crazy”. A lot of it was basically just been chucked in the deep end really. 

Interesting, did you feel like there were times where you felt out of your depth?

Literally all the fucking time mate. When shit hits the fan it gets old fast. You don’t have real human interactions and you’re sitting in a new city every day, just cooked and tired. Sometimes I lose my voice and I won’t really talk to that many people for weeks on end. And then the only interactions I have will be someone being like, “You’re great”. Or someone being like, “You’re shit”, or like someone interviewing me. So it’s not an accurate representation of  humans, and how they talk. We can sometimes be a wreck and I’m just like, “I don’t know what the fuck is going on”. And then as well, you get confused because like, you’ll go somewhere and they’ll be like, “Ah, you’re like, so cool”. And then you’re like, “Am I famous?” And then you’re like, “No, I don’t know”. You just don’t know what’s going on. Basically, it’s really fucking weird.

So you don’t mind being called a ‘party band’?

Nah not at all, if the party is happening its usually us starting it.

I’m quite sad that I didn’t get to go to your album release show before All Points East two years ago.

Ah gutted, we were all super jetlagged and had been drinking since 11am, I think the show started at 2am? I was wearing some really nice shoes and some guy licked my foot whilst I was playing. I absolutely lost my shit, was like ‘FUUUCK’, cleared the pit and pointed right at him. My friend went to punch him in the back of the head and I was like “Don’t fucking touch him he’s my fucking problem cunt.” It was in a warehouse with 80 people and I just thought “Oh fuck this is not a good way to start!” Like, why would you lick my foot? Get out of my fucking party bro.

What is the state of music like in Australia at the moment?

In May we managed to do four shows in Melbourne because stuff was opened up, but it was actually three hours out of the city and just like small Australian, like waterside pubs. At the moment it’s just a waiting game, up and down really. Plans for shows get announced, it looks good, something gets booked properly in and then a week later it’s done for. There’s been a couple of cool gigs outside underneath bridges and skateparks but it would also be nice to see if there was activity at some actual venues. I’ve been going to seated shows to try and get some money back to our mates, its the least we can do.

Is there a particular venue you want to shout out before we wrap things up? 

Yes! There’s this venue in Melbourne called Last Chance, we lived with the owners during lockdown and every friday night they would bring us a hot meal, like chicken and chips and sometimes dessert. They just really look after the music community and are open till 7am every weekend. They’re just really good people and I back them. 

Comfort To Me is released September 10th via Rough Trade Records, pre-order here.

Death Goals create unbridled chaos to kick your mates to

Death Goals are a two-piece band that can never keep still. Taking influence from the likes of The Chariot, Dillinger Escape Plan and Converge, The Hertfordshire math-core two piece made up of guitarist Harry Bailey and drummer George Milner were set for greatness last year. For obvious reasons this hasn’t happened (yet) but their debut The Horrible And The Miserable gives us plenty of time to practice coming out of mosh retirement for when the time is ready. We sat down and dove deeper into what Death Goals are all about.

How did you guys start?

H: Oh, god, so I (Harry) started Death Goals when I was at university. My old math rock band was dying. I was bored of not playing shows so I decided that I’m going to form a two piece. Because then there’s only one person I have to argue with to do shows, and that’s easier. So I spoke to the other drummer in my course, who I knew was into, Deafheaven and Converge. So we wrote a load of songs for the show. It’s been bullshit since day one. I used to be really spontaneous seeing, like oh ‘The Black Heart’ needs a support act two hours before the show. 

So I’d message our old drummer like; “Will, we’re playing this show”. Then he’d go, “What do you mean, we’re playing?” So it got quite frustrating. I don’t do that anymore. Because I can’t. That was the joy of being in London, I could literally be like, “I’ve got all my gear here. I’ll see you outside of New Cross in an hour”. Then we did our little split with Pupil Slicer, and that was sick, then we did an EP. We kept going through different drummers, George at that point was sort of a quasi manager. He sort of expressed to me “I want to work with Death Goals but I don’t want to be in Death Goals”. And then as his old band Pet Lib was kind of on its last legs he said “I’d quite like to be in Death Goals please”.  So we wrote an album and now we’re stuck together!

What influences did you grow up with and how did it influence what you write now?

H: I would see George at math rock shows like TTNG, but the first time it really clicked for both of us was realising that we loved Every Time I Die. There’s loads of things that we have in common but its also varied, I don’t fuck with black metal at all for example! 

G: I love black metal so much 

H: You like the post rock stuff more than I do but I really like the weird experimental hip hop sound and hyper-pop. 

G: If you listen to this album and think it sounds similar to a band, chances are we’ve gotten drunk together and been like “Oh my god isn’t this the best band of all time?”. I think we’ve been like that with every single one of our influences. What we like to do is show each other music as much as possible even if we know that we might not like it. I’ll always be sending Harry slam or deathcore, you know, the greebiest shit possible and he’ll fucking hate it.

H: You made me a playlist of exclusively Myspace bands from the 00’s era and there’s some cool shit on there even if its not something I’d usually go out of my way to listen to. My partner recently got me into Phoebe Bridgers and it’s like “Why have I not been listening to this before?”.

How did you decide which songs would make it onto The Horrible and The Miserable?

G: So…

H: Call it what it is, I was an absolute diva about it!

G: So because we worked on the record predominantly through lockdown, even when I wasn’t officially in the band Harry would always send me stuff and I’d make sure to give feedback. It paid off because it felt like there weren’t any disagreements or arguments, if something didn’t work we very quickly moved on. However when it came to actually deciding what songs we would take into the studio, yes Harry was a complete diva about it!

H: Okay but, was I wrong?

G: No.

H: For the most part the basics of the songs had been written in my room, George added bits in but I’d done everything to start it going. In the end it felt like having to decide which kids were going to Uni and which ones weren’t, with Uni being the album. I think there was one song we had a disagreement with.

G: I’m stubborn, I didn’t want to admit that you were right…

H: No and that’s a good thing that we can be democratic about these discussions without it being an argument. You used to send me paragraphs, almost books worth of lyrics and I’d have to cut it down into eight lines because come on…

G: I just love me some words, love me a big old Thesaurus hahaha. I sit there with like 14 tabs open on my computer and thinking “What words will I be using today”?

H: It’s why we don’t play scrabble anymore. But yeah it’s all about refining it into something easier to digest.

Are you saying that you intentionally cut lines down so they can fit as four words onto your merch?

H: Yes, absolutely, I am always thinking about that NEXT 👏  MERCH 👏  PIECE 👏

What’s the story behind the track “Gender Traitor”?

H: Basically I was walking home from work one day and the idea of the line “I’ve been swapping saliva with gender traitors all my life” popped into my head. And then when lockdown happened you saw the rise of some horrific anti-LGBTQ stuff. That was the moment where I felt like I needed to speak out against this more. This is a time where I’m obviously quite annoyed that people want people like us dead. So I just wrote a song saying they can fuck off ennit.

Going back to influences, what would you say is your favourite breakdown?

H: I’m gonna say all of “Orchestra Of Wolves” by Gallows, the entire thing is hard.

G: That final breakdown in “I Used To Hate Cell Phones but Now I Hate Car Accidents” by Norma Jean.

Before the world ended, what was your favourite show?

G: I wasn’t even in the band at this point but there was a show in Hitchin where everything got moved down the road due to noise complaints. Your Death Goals set at the time brought me out of mosh retirement kicking and screaming. I was already super stressed with trying to make this show work and thought “You know what, I need to kick someone in the head”. I’m excited to play a Death Goals show because I’ll still do the exact same thing from the drum kit.

H:  Our mate Rob from Chinned was putting on these shows at DSI Studios in London which was basically a practice space. Basically a sweaty box of greebs fighting each other. At the first one I split my guitar head and decapitated my tuning pedal by just yeeting it into my pedal board. 

Where do you see yourselves in the future?

H: You know what, I went through so many drummers it felt like no one gave a shit and when lockdown happened I was tempted to just start some one person metal project from my bedroom, but luckily our friend Joe Booley (BSR Records) took interest and we got things moving again. But yeah I don’t know, playing something like Arctangent or Reading & Leeds would be really cool. 

G: In 10 years time we will headline Reading, we will have sold out and released a hyper-pop album, then go on tour with 100 Gecs and become super rich and famous. Okay but for real, there’s obviously bucket stuff list we fantasise about but I think last year taught us to take everything out one step at a time, because then when it actually does come around to us doing these bigger things, like I think we will appreciate it a lot more. That being said, Oh my god, it took us five years to get here.

H: It’s patience, patience is a virtue. I really do appreciate sitting on stuff, like making sure that the songs that you’re actually good, and like, the videos are good and like having these plans like being able to have a team, that was really nice. Its exhausting doing all of that shit yourself.

What changes would you like to see in the music industry moving forward?

G: Everybody gay now please. We gay. Every discord chat gay. 

H: I’d like to see more queer and fem representation on lineups. But like, actual representation, not just “Oh look we’ve put three queer bands on there”. It’s like, no, there are so many incredible queer artists that can and should be put on lineups. And it’s just like, “Oh, well, okay. Well, one member of this band who have like eight members who are all, you know, cis men, one of them is queer. So we’re inclusive”. 

G: Yeah like, no, you’re not. I think as well in the background of the industry, it’s an uncomfortable thing. You go to have a meeting with someone who as soon as you start talking about the fact that you’re a queer hardcore band, they have that look in their eyes. It’s like, “That’s not very marketable at all, is it?”.

Which songs on The Horrible and The Miserable mean the most to you?

H: For me “Shrike’ is a big one”. I’ve had that lyric “Goddamn my insecurities they always get the best of me”, for a very long time, almost four years now I think. So purely just seeing how people really enjoy that. So like, the song in itself isn’t very deep. It’s just a complete rant about being just mad, anxious and paranoid. “Hellen Keller Is Teaching Me How To Talk To Boys” was the first time me and George really collaborated with one another, and I was like “Oh hell yeah”. When you came up with that bridge part I was completely blown away. 

G: “Hellen Keller” was also a big one for me because it was the sort of music that I had wanted to play in my head for years but could never find the right people to do it with. That song encapsulates the fast-nest of what I wanted to play with the fucking heavy discordant breakdowns. And then when I wrote the “This is an anthem” line I remember being so gassed on it and was like “Harry fucking listen to this right now!”. When we were trying to assign who would scream which lines on which track I was just like “I have to do it”. I’ve not been outwardly queer for a while but I always felt sheltered by it because it was a weird conversation to have with people that I grew up with. I didn’t really meet a lot of other queer people until I started to get a lot older. And so I didn’t have it in my head that talking about it was like a normal thing to do. So for me, this album has been very much like, I’m showing my face. Every time I listen to it there’s a real passion inside myself telling anyone who said I wasn’t queer enough to fuck off really. My favourite track overall is “Exit Wounds”. It’s about the time I spent in rehab and periods of drug abuse which I’ve spoken about to friends but not outwardly. It’s a conversation I always hated having, like if someone offered me anything at parties and I would have to turn them down saying “I’m actually in recovery thank you”. It was always really uncomfortable even if I was doing it for the right reasons. And when Harry sent me the demo for it, I’d like i’d sat on this, like really heavily metaphorical lyrics that I’d written about, and I had never used these. And it just worked so perfectly.

H: I had no idea the song was even about that until we started recording.

G: It’s nice to have that. I’ve always been blunt about these topics in the past, I’ve always been very, like, “This is my mental health”. This is this, that and the other. And I think now with this album with how open, Harry and I have both been open about things of mental health and things with queerness. When I listen to “Exit Wounds”, it feels like a big step towards something within myself, but also just knowing that as we continue on as a band, where it’s going to be more, I guess, therapeutic to actually talk about things that we’ve we’ve both held back on for so long. It’s honesty.

H: It’s quite honest, so I don’t see why we wouldn’t want to keep going. This album is the first step in being able to be more open about all those sorts of things. Hopefully, we can just keep building on that. 

The Horrible And The Miserable is out now, purchase here.

Black Country, New Road – Islington Assembly Hall 29/6/21 Live Review

Photo by Ashwin Bhandari

Since the world shutdown I always wondered what my first concert would be once they were safe enough to return. Well it’s been 18 months since the pandemic started and even with the vaccines rolling in, life has not gone back to normal by any means. I didn’t even attempt to purchase tickets for this ambitious tour back in February due to the likelihood of every show being cancelled or pushed back to 2022. 

Despite this, I had high hopes that this would be a night to remember. After stumbling from a friend’s house having just watched England beat Germany in the Euro Cup, I met my mate outside the venue. Aside from a few virtual concerts we also had not seen each other since the start of the pandemic, the oozing relief of familiarity felt alien to me at first but I quickly embraced it. 

We took our allocated seats on the bottom floor. Without a support act to sit down and settle into the venue with, after a while I went out to the smoking area. Having not interacted with strangers in so long and with my compulsive tendencies to attempt to strike up conversation, I asked if anyone was part of the ‘Sunglasses posting group.’ (A BCNR shitposting/fanpage). They stared at me with complete bewilderment. It had been a while since I had humiliated myself in public, so naturally I stubbed my cigarette out and went back inside after this conversation went nowhere.

As the lights gradually faded, we sat in silence as drummer Charlie Wayne emerged, thanking us for coming along tonight as well as explaining that all the new material being performed tonight were still ‘works in progress’ of sorts, encouraging us not to film or post them online. The sentiment is understandable, however with the majority of the set consisting of new songs, the temptation not to post at least a few snippets for an instagram story is hard to resist. Each date on this tour has had a different track blasting over the PA before the group’s formal arrival, and tonight we are treated to Bonnie Tyler’s “Total Eclipse Of The Heart”. Opening with “Instrumental”, the quirky track set the scene nicely, with Wayne leading the rhythm with his frantic drum patterns and May Kershaw on keyboard, leading the audience into an almost hypnotic trance before the rest of the seven piece outfit joined the huge stage.

Despite its aesthetically pleasing architecture, at this point it feels like the stage is almost too big for Black Country, New Road to handle all at once. With technical issues cropping up at the start as frontman Issac Wood attempting to find a working microphone and a few of the newer songs whilst grand in scale lacked the polish of older material. Whilst they might consider these tracks to be works in progress, the new material was still absolutely worth hearing, especially as each component of the band makes it feel like not a single moment is being wasted on stage. 

With cuts from For The First Time sprinkled in to bring us back to something more familiar, Issac feels far more enigmatic in his vocal performances live, enhancing the dramatic quips such as “The cursed vultures give me sour dough, my daily bread.” The lighting of the venue itself felt like it was almost melting into the background curtains, enhancing the chaotic nature of their music. Bassist Tyler Hide’s’ soothing vocals in the chorus of “Track X” and the sudden shifting to erratic, borderline discordant violin strokes from Georgia Ellery heighten the different ranges of emotion on display here, coupled by immaculate musicianship all round.

The set noticeably lacks “Sunglasses” or any ABBA covers played on previous dates of the tour, but mysterious new cuts like “Basketball Shoes” and “Snowglobes” give us a bright look into the band’s future. Whether Issac is almost slamming his guitar onto the stage floor or Georgia’s frantic headbanging in the more intense portions of new songs, you can’t deny how mesmerizing the whole show feels; unable to look away or think about the outside world for a glorious one hour and thirty minutes. There is no encore this evening but there doesn’t need to be. Black Country, New Road have gallantly hoisted their flag into the ground and it feels like nothing can stop them.

Single Premier: Inevitable Daydream – “Confession”

Inevitable Daydream have shared “Confession”, the first single from their upcoming debut album Your Dreams Are What You’re Made Of, set to be released on July 30th.

It’s like Dire Straits teamed up with The Babe Rainbow to make an old time folk/ country classic. Luscious guitar licks and dreamy vocals turn this ballad into a melding pot of vibrant sounds.

Listen to the new single below!

Single Premier: Uzumaki – Screw Loose

UK slackers Uzumaki have returned with their second single “Screw Loose”, following on from the gloriously explosive “Tired. Growing up on THPS, Dookie, VX1000 footage and Malcom in the Middle, UZU is a product of these influences combined with a romance for Pixies, Sandbox and Nada Surf.

Speaking on the new single the band said:

“Screw Loose” reports on the youth of today, the dreams we chase and issues we face. However, there is a meaning within any song for the listener; the subjects in which we discuss may be interpreted by YOU (the listener) in whichever way you like. Carve your name into a tree and stick your chewing gum under the desk, for it is cool again to leave your Chucks untied, regardless of the risk.’

We are very happy to debut the emphatic new single, listen below!

Fiddlehead – Between The Richness Album Review

Run For Cover Records – 2021

The term ‘Supergroup’ more often than not is associated with one time projects that might seem interesting at the time but ultimately do not live up to the expectations or sounds of the band members main musical projects. This is not the case with Fiddlehead. After beloved emo group Title Fight announced their indefinite hiatus in 2017, hardcore fans were craving more bands that channelled Fugazi, Jawbreaker and Lifetime just as they did.

Formed by members of Have Heart, Basement, Youth Funeral and Big Contest, Fiddlehead’s first record Springtime and Blind, which came out in 2018, filled that niche incredibly well. I was lucky enough to catch them at the New Cross Inn on their December UK tour where they were welcomed with open arms and a fuck load of stage-dives along the way.

For vocalist Pat Flynn, grief has no expiry date, no time limit and absolutely no one’s place to tell someone to “Get over it”. Alluding to the passing of Flynn’s father, we have a life affirming intro to Fiddlehead’s second full length record on “Grief Motief”, a quote from poet E.E Cummings; “I carry your heart with me, I carry it in my heart. I am never without it. Anywhere I go, you go.” Following this, the Boston quintet launches into hard hitting instrumentation, Flynn giving us the long term symptoms grief we all must face when faced with a sudden loss of life; “Wake up and fall apart, sleep in and fall apart.” 

At face value, the songs follow a similar structure from last time, albeit with slower tempos in some areas, and Flynn occasionally unleashing his shouted vocals, not heard since members of Have Heart released a one off EP under the name ‘Free’ in 2015. The guitars still have that signature melancholic rock tone that feels familiar but just as impactful at the same time. Guitarist Alex Henery has a bigger role in terms of backing vocals, especially on “Get My Mind Right” and “Million Times”. Much like in Basement, his vocal contributions serve mostly to intensify the chorus rather than a dual singer-songwriter dynamic. They work incredibly well and help solidify the catchiness of each sticky vocal hook into aggressive chants when the group inevitably start playing live shows again.

As an academic himself, “Down University” is a recognition of the pressures in education to succeed painting an all too familiar picture in your head with the line; “Rising pressure and stress to measure up to standards set so high in your mind”. On the upside, Flynn urges the listener that all the prestigious American colleges listed are merely names, with the following mantra “You are worth more than your degree”. It’s a relatable tune that will undoubtedly bring comfort to those like myself who have struggled or are struggling to succeed and make their families proud. Shawn Costa’s drum fills are a notable highlight on this track, giving you the energy to jump off the nearest thing in your room and pretending that shows are still happening as normal.

“Stay in the Blue” and closer “Heart to Heart” show Flynn directly addressing his son Richard, who shares the same name as his late father. It is an optimistic side to the songwriting that feels warm and hopeful as well as deeply relatable. These songs are not only meant to be a time capsule of sorts but could also be passed on to anyone who’s recently brought a child into the world. These cuts also resonate the most emotionally, with gritty melodies and ear-worm worthy charm.

Ultimately, the world needed more Fiddlehead after Springtime and Blind, and we got more than we asked for, helping all of us to regain balance and catharsis in these uncertain times. I have no doubt in my mind that with time this will go down as one of the finest emo/post hardcore records of the 2020’s thus far.

Was Nailbreaker a mistake?

Photo by DEMIDOW Photography

From the depths of a bedroom in Rushden, Northamptonshire, George Hammond creates catchy, avant-garde art rap, influenced heavily by the likes of early 2000’s power electronics. We sat down with him not long after the release of his second EP Pain.

Who are you and what’s Nailbreaker’s deal?

I’m George, I’m a 21 year old musician. I’ve been making music under the name Nailbreaker since late 2018, mostly a mix of punk, rap, industrial and noise with some other influences thrown in. So far I’ve put out two EPs, a few singles and a megamix, done a few remixes and was gigging a lot until COVID happened. Since then I’ve been sat in my bedroom with a broken laptop trying to make disgusting noise rap. 

Describe what it’s like living in Rushden/Northamptonshire in general.

Rushden isn’t that interesting. It’s a bit rough and got rougher during COVID. I live just off the high street and it’s been a bit run-down after the shopping centre by the lakes opened up. The lakes are nice and there are a few good parks but the town’s so small you get used to it quick. Other than that there’s not a lot going on other than crime and a couple of pubs. Northampton is a bigger town so there’s a lot more to it. It’s cleaner, little more upmarket, still generally working class. It’s got a good DIY music scene with a lot of great bands and rappers and the town centre has a lot more stuff to do than Rushden does. Rushden’s where I feel most comfortable though, I know it better than anywhere else. 

What was the first ever concert you went to?

I think it was Jack White at O2 Academy Birmingham in 2012. Always been a really big White Stripes fan and Jack White was an early influence for how I approach music. It was a fucking sick gig and blew my mind as a 12 year old. The support act was this guy called Willy Moon and he was dogshit, but everything else was great. 

How did you get involved in producing electronic music yourself?

I got into producing myself purely out of necessity. My old band Acolytes had gotten a bit inactive and a couple of the members were off to uni so I needed a way to still gig and make music without other people. Our bassist, Bewlay, had been making his own music under the name Dylon Dean and was making the beats for it on Garageband on his phone, so I took inspiration from what he was doing and figured out how to record my own stuff on Garageband myself. I had no experience of production or beat-making or mixing or anything before then which is why the first two NLBRKR singles sound so lo-fi, so you can hear me gradually figuring out how to produce if you go through my discography chronologically. I eventually started making beats on my laptop but still with a pretty minimal setup, and sometimes I do still make some of my beats on my phone. It doesn’t really matter to me how I make the tunes, as long as I have some way of making them. 

You were recently featured on an Anthony Fantano live stream, what was going through your head as he listened to it & gave you advice?

It was a bit surreal, I’ve been watching Fantano’s reviews since 2015 and whether I always agree with him or not I respect his opinions because they’re generally quite well thought-out and nuanced. I knew as soon as it came up there would be a lot of “Bri’ish Death Grips” comments in the livestream. But it didn’t bother me considering Fantano’s fan we base will call anything from Show Me The Body to JPEGMAFIA “Death Grips”. I like Death Grips anyway so I don’t care. I was glad that Anthony seemed to like the track overall and he was very constructive in his feedback, and I had a lot of people reach out after to say they’d discovered my music through the stream and they really liked what I was doing. It’s always good when someone with that big a following gives small artists a platform and I’m happy that loads of people who would’ve never heard of me found out what I was doing because of Anthony giving it his thoughts. 

Describe a typical Nailbreaker live show.

Very physical. Confrontational. Probably not very COVID-friendly. Personally I use playing live as a way to get out any negative emotions I’ve got that I otherwise don’t know how to express. It’s not really a performance “for” other people if that makes sense, it’s something I do for my own peace of mind. That’s why I play with the same level of intensity whether the venue is packed or completely empty. I can be quite violent with myself and tend to take up most of the room instead of playing just onstage but that’s not something I put any thought into, I just lose myself in the music and let my primal instincts take over. Not being able to play live admittedly hasn’t been great for me mentally because a lot of feelings I would purge in my gigs which I haven’t been able so when shows come back I’ll definitely be more at peace. 

What are some of your favourite power electronics artists?

Deathpile, Prurient, Genocide Organ, Dreamcrusher, Pharmakon, Knifedoutofexistence, Whitehouse and Hunting Lodge. This is also the first time I’ve been asked about my taste in power electronics in an interview and I hope it’s not the last. 

Often, artists from the P.E genre tend to tackle transgressive and taboo subjects, often far more to the extreme than say metal or punk sub genres. What inspires you to write about the themes in your songs?

I guess similar to my approach to live shows it’s really just purging the feelings I have that I don’t know how else to express. The reason the themes of depression, suicide, anti-capitalist politics or just taking the piss out of stuff come up is because those are whatever I’m feeling or thinking about at the time of writing. It’s not always doom n’ gloom, sometimes I’ll have lyrics that I write just to make myself laugh. Whatever I write though is always authentic to whatever I’m going through at the time. 

When the pandemic becomes more manageable/comes to an end, what do you hope to achieve musically and personally?

Musically I’m gonna keep doing what I’m doing pandemic or not. A lot of people say shit like “music’s the only thing I know how to do” and it always comes off cheesy but music is for real the only thing I know how to do. While I can’t gig right now, the pandemic isn’t stopping me from recording so I’ve got EP3 and a full-length mixtape on the go at the minute, as well as demoing new material for Sharkteeth Grinder (the mathcore band I play guitar in). 

Personally, I’m trying to improve my health – physical and mental – and I’m gonna keep working on that. My knees are fucked from throwing myself around at gigs all 2019, the kneecaps float and pop out of place constantly, so I’ve been working on getting some strength and stability back and hopefully they’ll be in much better shape before gigs are back how they used to be. 

Do you still believe that Nailbreaker was a mistake?

It depends. When it comes to my knees, head, hearing, back and bank account then yes, a terrible mistake. It gives me something to do though. 

Tell us the story behind the closing track Nailbreaker Vs Nailbreaker.

I made the beat in late 2019 intending to use it for a different release which I never finished. I ended up coming to not like it as much so it got put on the shelf for a while. I listened to it again as I was recording Pain and I remembered what I liked about it in the first place so I decided to stick it on the EP. Lyrically, it’s about allowing self-destructive tendencies to get in the way of your own progression, how we sometimes use pain as a motivator and source of inspiration yet have to constantly navigate how we deal with pain so it doesn’t consume our existence. The vocal sample at the track comes from an Instagram story Lewis from the band BLOOD-VISIONS uploaded a couple of Halloweens ago where he was walking home drunk in corpse paint upset about how nobody in Northampton would accept him for what he truly is, a black metal guy in 2019. The video’s since become legendary and I’ve had the audio saved on my laptop for a while looking for an excuse to honour it, I’m glad I finally got to shoehorn it in. Lewis was happy to be included too. 

What’s the response been like to Pain so far?

Actually better than I expected. I didn’t expect it to be universally hated obviously but I’ve had a lot of people tell me how much they love it and that it’s my best work yet so the support has been sick. I’m always surprised when BBC Introducing plays my shit anyway so it was cool to see them get behind it too. I am really grateful to everyone who’s given any of my music my time – as I’ve said I make music solely for myself so the fact that anyone else gets anything out of it is humbling. Because the music comes from a very dark place it seems like it’s resonated with a lot of people. Obviously we all had a shit 2020 and I think most peoples’ mental health had gone to shit by the end of the year, and I’ve had a number of people tell me the EP reflected the state of mind they were in or reflects what living in 2021 feels like or whatever. This music exists to help me cope, anyone else getting anything out of it is a bonus. 

Pain EP is out now, available to buy here.

Slow Crush are leading the way for a new generation of shoegazing

Like soaking your head in a warm bath of water, the Belgian group are well crafted in the art of abrasive immersion. Formed from the ashes of various hardcore projects, Slow Crush formed in 2017. Since then, they have toured with well admired scenes across the world such as Gouge Away, Torche, Tennis System and had their first EP Ease distributed by US based label Deathswish Records. We caught up with vocalist and guitarist Isa Holiday about their ventures at home during the start of the COVID 19 Pandemic.

You had so much planned 12 months ago, what have you been up to in the meantime?

Slept! Haha, we had such a big schedule for 2020. We had just gotten back from a US tour, when we sort of heard the news creeping in about the pandemic potentially ruining plans to tour Italy, which was the next stop. So we were watching the news, and seeing all of the countries slowly on our tour schedule just sort of disappear. It was like, “Okay, maybe it’s best to just stay home”. Plans for recording  also needed to be rescheduled because  wherever we wanted to go initially, that just wouldn’t have been able to happen. Eventually we found that the perfect fit and finally, we were able to do that in January. So yeah, we were just using our time productively to work on that while being stuck at home.

Logistically, how did you manage to come up with ideas for recording whilst everyone was initially apart from each other?

With the whole introduction of zoom as well as WhatsApp message groups and everything like that it gave us the opportunity to share ideas over the internet. I think the pandemic did cause people to get a lot more creative or, or just think about how you can go about things differently, because stuff still needs to be done. You can’t just sit at home, although the government would want you to.

Are there any ideas that you’ve sat on for a while?

We have tonnes of ideas that don’t all come into fruition to make it onto an album. It just depends on the creativity flow, right. Being stuck at home can work in both ways in that respect, because it could spur a lot of inspiration, but then it can also be very restricting if you’re only seeing the same four walls over and over. 

What was your favourite tour of your career thus far?

They’re all so much fun and they’re all very different! I think all of the tours have had something memorable about all of them. Just because crazy shit goes on all the time that you can’t predict. But I think that one tour that I really enjoyed a lot was the Soft Kill tour. That was towards the end of last year as well. The whole tour crew were really fun. Their merch guy like he and I, we would just be dancing every night and we promised ourselves before heading out on tour that we would do cartwheels every night, but we never got around to it. They got me on stage to play bass on one of their songs for half of the tour. So it was just really fun. But like I said, every tour is fun. Especially now you look back when you can’t do it. And yeah, it’s just amazing to get to know all of these people, like all of people from from the other bands that you’re talking with, and then just being in different places and learning or seeing things that you wouldn’t see on this side of the world.

It’s interesting that you bring up Soft Kill as they are essentially a group of hardcore kids that ended up making heavy dreampop. Do you feel like there are similarities with how you started Slow Crush?

The style that we’re playing is sort of a kind of lighter version of what we sort of grew up listening to and what we grew up playing. But then again, we do incorporate some little hints to hardcore now and then. 

What was the first shoegaze band you ever saw live? 

I saw Nothing and Newmoon together in 2016. Hardcore and shoegaze go well together because its all organised chaos! I think Nothing actually ended up renting our van at some point as well. Around that time we had just kind of quit our doom metal band and we were considering continuing in that style, but with me on vocals. So then, I started like listening to a lot of Pity Sex. And like bands like Mumrunner, and Jaguar. I got the inspiration for my vocal sound and range sort of fits well with their style of singing. They all have that shoegazey sound although Pity Sex were a little bit more punky or raw I suppose. That’s that is the inspiration that led to the beginning of Slow Crush. 

What other music do you listen to besides shoegaze?

I haven’t personally sort of looked out for new music for a while, just because I’ve just been so busy with with, like, the day to day work and everything else. So I suck. But, um, but something that that I have discovered recently is Cassandra Jenkins. It’s very kind of soft, easy going stuff. I’ve also been going back to old hardcore like In My Eyes whenever I go for a run, which hasn’t been for a while. I know that when I used to drive into work, I would put on Carry On. And that would get me pumped to like, start the day and this is something relatively new, I suppose. But the Curse These Metal Hands song “High Spirits” is very motivational song. 

Tell me about the recent indoor live stream show you performed earlier this year?

The Ancienne Belgique is one of the most renowned venues in Belgium. I have been to numerous concerts there. I think even my first concert that I went to without parents was there, which I think was Green Day. It’s like a huge hall with balconies as well, which is quite intimidating if you’re standing there to an empty room. I imagine it’s more intimidating when there are 1000s of people there! I’m kind of glad that that was my first experience on that stage to an empty hall. It’s a dream to be able to play there. It was also the same venue that we played the last show of the Soft Kill tour in but we played a smaller room. I haven’t seen any images yet, but  they are prepping everything right now and just editing everything together.

What is the most personal song you have ever written?

From Aurora the title track is quite meaningful to me. It was written about a friend who was having a hard time with a breakup and everything like that, so it’s kind of my tribute to her. That’s pretty close to my heart. “Tremble” is another good one. It is our protest song, being a voice for the voiceless. Whether it’s animal rights or any other injustice that the government throws at us. 

If you could change one thing about the music industry what would it be?

It would be great if all venues shared the same hospitality as one another. I’m not being a dick, but you should at least offer a drink to a touring band regardless of how big they are. After the pandemic ends it would also be great to see more government support for the music industry and the arts in general. Don’t get me started on Brexit either. It’s made it so much more difficult for touring bands to come to the UK and vice versa unless you’re huge. In Belgium we just received the news yesterday that the biggest festival in the country is not going to take place this year. Everything is just postponed to next year. They’re still debating whether the late summer festivals can take place. If any festival booked, the bill is going to be local bands, because travelling is just going to be almost impossible until the vaccinations spread like wildfire.

Slow Crush’s AB Session will be streaming on April 24th, tickets available here.

The live audio will be released on April 25th, available to pre-order here now.