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Nothing Can Stop Nicky Palermo And Co.

It’s been a whole four years since the beloved ear-shattering guitar quartet from Philadelphia last came to our shores. Priding themselves as being one of the first bands in the US to do a full nationwide tour since the pandemic hit two years ago, they’ve finally been able blast out hit after hit from their latest record The Great Dismal with sold-out shows across the world. Whilst the lineup has fluctuated over the last 10 years or so, leader Dominic Palermo couldn’t have a better group of people to join him on the road, with Christina Michelle (Gouge Away) on bass and Benny Meed (Dead Swans) on drums. Ahead of their Brighton show at Green Door Store, I was lucky enough to speak to Nicky and lead guitarist Doyle Martin of Cloakroom about their return to the UK and the context behind that sample on ‘Say Less’.

Your first EP Downward Years To Come came out 10 years ago, how does it feel looking back on it?

Nicky: That’s a long time to remember! But yeah, we did that record with Kyle Johnson. So the lineup was a lot different. We didn’t really quite comprehend what we were doing, not that we do now either. But yeah, it felt young. Things felt more like a band, as recording Sons and Lovers still felt like the demo that got put together by us. Downward kinda felt the same, except that, got put on vinyl. It was also kind of the first time that I felt like we were starting to see what our sound might be. As far as like, where we’re at now it’s like a whole different planet!

(At this point in the interview, Doyle asks my girlfriend for a ‘tiny cigarette’ which we call rollies in the UK. I watch as he constructs it together and doesn’t even need to lick the paper to fold it.)

On The Great Dismal it felt like you took a more ‘cinematic’ approach to songwriting. Would you say that’s a fair statement to make?

Nicky: I mentioned Sound Of Metal in a previous interview, but I also watched a lot of movies by Yorgos Lanthimos and Akira Kurosawa during quarantine, so it coincided with us demoing the album. I think I watched a movie or two a day during that first year so yeah, I watched good shit, some bullshit, I downloaded the Criterion app at one point, which was cool because I would never usually have the time to sit down and appreciate shit like that. So yeah, it was definitely an art-filled time when we wrote the record.

I wanted to know more about why you chose that sample of a woman talking about shopping at a mall as a form of exercise for the song Say Less, what’s the context there?

Nicky: That song is about people speaking to you too much. Like whether it’s just on some like, punishing shit. Or if it’s like, someone just trying to like, talk your ear off. Or if it’s like some coke head shit, like, it’s kind of like a mixture of all that. So the video that we use is like, it’s like this pretty unused video of this lady that’s like, looks like she’s on a bunch of amphetamines at the mall. And she talks about working out at the mall through shopping. So it was it seemed like a good my friend sent it to us when we were in the studio and I just was like, “I’m gonna sample this”.

Doyle: Not a lot of views on it either before we used it!

You recently posted some photos of yourself with Full Of Hell, what can we look forward to hearing from both of you?

Nicky: They’re very close friends of mine, but aside from a live stream set and being on a few bills we’ve kept what we have planned for Roadburn Festival pretty quiet. So hopefully one day we’ll get to record something together unless it’s a complete disaster of course. It’s just gonna be me and Doyle but even then it’s always hard trying to get everyone to rehearse together. We’ll see how it goes.

Despite all the bad luck you’ve had over the years, do you feel like there are people out there that get the wrong impression about you? Do you still get accused of being a ‘tough guy’ band?

Doyle: I mean, we are a tough guy band dude, hahaha.

Nicky: It’s awful, we still get that from certain people online and in person. I think it’s just people don’t know how to handle someone that’s as open and honest as we are and things like that. And, you know, we don’t really follow the same guidelines and rules that everyone does. So like, we kind of alienate ourselves in that way. And the easiest way to misinterpret someone that’s put themselves in a different spot is the kind of like give them something that they don’t understand whether it’s like a being called a bully or like, whatever it is, that’s how they deal with not being able to understand that we just want to do things the way we do things.

What do you love most about touring the UK?

Nicky: Mostly just getting to see our friends that we don’t get to see face to face very often. We don’t have the same lifelong connections in mainland Europe so we consider y’all to be our real friends. Ben who’s filling in on drums is someone I’ve known for over 10 years, for example. We had fucking breakfast at his parents’ house in Worthing this morning with beans mushrooms and eggs, shit ruled. No matter how many times I come over here you guys still sound funny to me, I can’t get enough of it! I also just love being in Brighton in general, it’s for sure one of my favorite places to visit.

Photo by Cam Smith

I know it’s probably a question you get sick of hearing about but is Horror Show done for good?

Nicky: Short answer, no. I don’t have the energy for it and the people that were involved with that like I owe them a fair bit of respect to just like not bother with it anymore. Every once in a while we would hit a show or something like that and I didn’t feel like it was disrespectful to Joshua who passed away or anything but… I’ve had the thought of like recording again, maybe a third final little EP but it just seems doesn’t seem right. Plus, the people that are coming back around, bringing their old band back and trying to do it again like they just end up embarrassing themselves most of the time and I don’t want to accidentally do that to myself. I’ve managed to make it this long without like not completely embarrassing myself.

Right, so my follow-up question to that is…will there be any more Death Of Lovers material in the future?

Nicky: I’ll probably do something again, like that. The thing with that was, I think that there’s a medium which existed for why I did that band was because, at the time, the lineup was a little bit more fluid as far as writing and stuff. But now that like, it’s back to like a band again new people. And there’s absolutely room for change. I think that like I can probably appease what I want to get out of Death Of Lovers with Nothing. In some sense, I would expect big changes because I’m not going to make the same record again. Maybe that’s when I’ll embarrass myself along for the ride!

Finally, when can we expect a new record from Nothing?

Nicky: I don’t think we can release records at the same pace that we did before the pandemic, but also it feels like there’s way less pressure now to do so. The Great Dismal felt like an amazing way to end being in this band for a decade, almost like closing the final chapter of a book. I got what I wanted out of an album during a fucked up time and now I’m hitting up shows with these guys and it’s sick.

Doyle: I think next year we might start writing again but for now we’re just chilling. I mean, when I joined the band you guys already had a bunch of demos ready to go.

Nicky: Yeah I want to feel less pressure on my shoulders, we’ll start up again when the time feels right. It will be good to write a record with Doyle and do it that way.

Doyle: Are you gonna tell people I did that? That I housed Nicky’s pint?

Nothing will play the Sunday of Outbreak Festival in Manchester on 26th June. Get tickets here.

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.

Always You Are In Bloom On Their New Album

Photo by Haley Min Young Kreofsky

Always You is the musical project of brothers Anton and Christoph Hochheim. Both brothers’ musical credentials stretch far and wide within the independent scene with both being previous members of New York synth-pop group, The Pains of Being Pure at Heart. Anton also playing drums for lo-fi dream-pop outfit Beach Fossils and Christoph having played guitar with Jerry Paper for the last few years. So it’s safe to say that when joined together, the result is as captivating as their resumé’s.

They released debut album Adult Contemporaries back in 2016 under the moniker Ablebody and have now returned with their sophomore album Bloom Off The Rose, a captivating synth-pop and soft-rock journey through heartbreak and longing. We asked the brothers a few questions to get a little more insight into the people behind the music.

What does the title Bloom Off The Rose mean or represent to you?

I wasn’t sure that there was any unifying theme to these songs until long after their completion. Only in retrospect do I recognise it’s a breakup album of sorts, despite being fully blind to that while creating it. Sometimes the songs know it’s over before you do, which can be an unsettling discovery.

We titled the album Bloom Off The Rose for that reason. It’s an idiom that refers to something that’s lost its lustre, which felt like an apt symbol of the slow wane of love. That might give the impression that this album is heavy and morose, but I find it to be grateful and generous, often thankful and wistful in a romantic sense where love remains intact, despite the love no longer serving us. It’s not a typical “love is hard” message, I suppose, hopefully something a little more nuanced.

Is there a story behind your change of name from Ablebody to Always You?

I think that name just ran it’s course for us. It felt like a positive personal mantra initially as I was breaking away from the comforts of a band and pursuing something solo, celebrating my limitations and embracing the flaws that came from doing everything myself. Eventually my brother started helping out, and politically that word started to mean something we couldn’t stand behind. This album represents a new phase musically and otherwise for us, so it only felt right for the name to follow suit.

How much does synth-pop and glam-pop influence your sound?

Synth pop tremendously, glam not as much. We cut our teeth early on with lots of Japanese synth pop (Yukihiro Takahashi, Miharu Koshi, Taeko Ohnuki, etc) and UK groups (China Crisis, The Associates, Prefab Sprout).

I think glam rock and rock in general is an attitude we’ve never jived with, although Sparks were and still are massively inspiring to us. I really admire duos, especially ones with familial ties that can survive through the decades. Gary Daly and Eddie Lundon from China Crisis are also shining examples of how to age in this industry with grace and humility while never compromising your craft.

I’m not sure how apparent it might be, but musically on this record we pulled more from ‘standards’ and masters of songcraft like Burt Bacharach/Hal David, Oscar Hammerstein II, Anthony Newley, Stephen Sondheim, etc. Those songs transcend style and showcase a timelessness of songwriting we could only hope to approach.

What else influences your sound?

Life, loss, relationships…that’s pretty much it ha. I’ve come to terms with the fact that writing music for me is the continual quest for the perfect pop song…and every good pop song is a love song.

Did either of both your other projects with Beach Fossils and The Pains of Being Pure at Heart have any influence on the sound of this album?

I think every project we’ve played in and recorded with has influenced us in some fashion, if not sonically then interpersonally which is equally invaluable.

What did Lucas Nathan (Jerry Paper) bring to production duties?

This record would truly not exist if it weren’t for Lucas and their contributions. It’s definitely our most collaborative album to date which was a challenge for me as I tend to guard our songs pretty closely from outside influence.

Lucas is one of my dearest friends which made me a little nervous as collaboration could be challenging but it was shockingly fun and effortless. We have a lot of aesthetic ground in common but the exciting moments were when they’d suggest something that made me uncomfortable. I softened my grip and chose to blindly trust in their vision, even when I had difficulty seeing it myself. In every instance it was the right choice.

What is the biggest influence of your songwriting? Is it diaristic or therapeutic?

I’m not sure that writing is therapeutic for me, think it’s more like wistful wallowing ha? As I grow older I’m constantly making an effort to draw from emotions that are lighter but the difficult ones seem to come much more naturally to me. Oftentimes I won’t think they’re diaristic as I rarely write from my own perspective, sometimes bouncing between two or more characters in a single song. With this album it wasn’t until all songs were finished and assembled that I realised almost every line has some parallel to my life, even the ones where I intentionally tried to write less situationally and more visually.

Do the stories of the relationship you came out of on this album feel nostalgic?

Sure I think it’s only human to feel nostalgic for situations both good and bad. We’re cursed as a species with the ability to look back. Maybe there’s a sense of comfort in it as the future is often too overwhelming or hazy to project. Even when things are good I’m nostalgic for the intensity of life that difficult situations can bring ha. I could only imagine others feel the same?

And do the imagined futures have a sense of future nostalgia?

Of course, I think nostalgia is just a sense of yearning for some imagined sense of perfection, be it past or future. Difficult times have a sense of perfection to them too when I look back at them, a certain romantic magnificence that in reality is probably much messier.

Is nostalgia something you feel a lot? Both in this album and in life generally?

Unfortunately yes ha.

How long have you played music together as brothers?

We’ve played music together since we were in elementary school. We used to perform trumpet duets of our favourite TV show themes and Christmas songs for school assemblies and things. It wasn’t until junior high when I picked up guitar and Anton started playing the drums that we started messing around with our own songs. Back then it was more improvisatory, lots of pedals and looping with no real agenda or aspirations to perform live.

What’s the dynamic of the band? And what does the live set up look like/ hope to look like?

We’ve recently expanded our lineup to a 5 piece which is very exciting. Our longtime friend and guitarist Daniel Rosenbaum is still playing in the current iteration of the band. Our friend Jordan Sabolick who played bass on the record moved to Seattle during the pandemic, so we’ve enlisted Erica Shafer who’s a super talented multi-instrumentalist. Lincoln Mendell is playing keys with us too, so we’re ditching the backing tracks for the first time which has been so liberating. He’s a synth wiz and was able to learn all the details on the record by ear and dial in the sounds perfectly. Really looking forward to bringing this album to life on stage sometime soon.

The music videos feature eccentric characters and people, are they extensions of yourself? Or do they represent something else?

To me the characters in the videos are abstract representations of subjects and themes that appear throughout the album. A song like “Black City Nights” depicts some pretty vivid scenarios, so instead of being too literal we opted for two defeated figures chasing ghosts of their pasts, who despite their struggles maintain a blind sense of optimism that things will get better if they just keep pushing. The diva and sad clown/mime characters seemed to capture that essence, with the missed connection narrative used to portray a sense of loneliness and the lengths people will go to escape it.

Bloom Off The Rose is out now via Shelflife Records/Discos de Kirlian. Purchase here.

Weyes Blood shares new video for “It’s Not Just Me, It’s Everybody”

Weyes Blood has shared a new dystopian video for “It’s Not Just Me, It’s Everybody”, the first single that was released earlier in the month from her upcoming album And In The Darkness, Hearts Aglow. The new video was directed by filmmaker Charlotte Ercoli who also directed Weyes Bloods’ “Seven Words” music video.

Watch the new video below!

Weyes Blood’s “In Holy Flux Tour,” a headlining international touring run for the Spring of 2023 in support of And In The Darkness, Hearts Aglow, has also been announced.  The UK and EU dates begin on 28th January in Berlin and ending Tuesday 14th February in Brighton. Tickets available here.

In Holy Flux Tour 2023 


Sat. Jan. 28 – Berlin, DE – Festsaal Kreuzberg

Mon. Jan. 30 – Stockholm, SE – Berns

Tue. Jan. 31- Oslo, NO – Rockefeller

Wed. Feb. 01 – Copenhagen, DK – VEGA

Fri. Feb. 03 – Cologne, DE – Kulturkirche 

Sat. Feb. 04 – Paris, FR – Le Trianon 

Sun. Feb. 05 – Brussels, BE – Botanique – Orangerie

Mon. Feb. 06 – Amsterdam, NL – Paradiso 

Wed. Feb.08 – London, UK – Roundhouse 

Thu. Feb. 09 – Bristol, UK – SWX 

Fri. Feb. 10 – Glasgow, UK – QMU 

Sun. Feb. 12- Dublin, IE – Vicar Street

Mon. Feb. 13 – Manchester, UK – O2 Ritz

Tue. Feb. 14 – Brighton, UK – CHALK


Regal Cheer Drop New Single “Malleable”

The Brighton-based two-piece noise pop outfit have released a new single, Malleable via their own label Ugly Twin Records. Following their 2021 debut EP Side Hustle, the single opens with dance-punk reminiscent drums in the song’s verses, followed by a huge scrappy chorus with fuzzy hard-hitting riffs that instantly suck you in. Clocking in at 1 minute and 50 seconds, you can already tell this song will be an instant classic at packed bar venues, coupled with the relatable notion of burning out until everything you’ve worked so hard for turns to shit.

Check out the video for Malleable below!


PVA announce debut album “BLUSH”, share new single

Photo by Sebastian Kapfhammer

PVA have announced BLUSH, their debut album set to be released on October 14th via Ninja Tune. Pre-order here. The announcement also comes alongside the release of the head-bopping new single “Hero Man”. This follows on from “Untethered” released earlier in the year and is their first full body of music since their debut EP Toner, released in 2020.

Listen to the new single below!

A press release said of the album:

Arriving closely on the heels of their 2020 EP “Toner”, the band’s stunning debut album sees them further consolidating the beating pulse of electronic music with the raw energy of a life-affirming gig and reveals more about the trio than they’ve ever previously shared. The eleven blistering tracks from the group, Ella Harris and Josh Baxter (who share lead vocals as well as handling synths, guitars and production) alongside drummer and percussionist Louis Satchell, are made from a formula of acid, disco, blistering synths, the release of the dancefloor and cathartic sprechgesang post-punk.


1. Untethered
2. Kim
3. Hero Man
4. Interlude
5. Bunker
6. Comfort Eating
7. The Individual
8. Bad Dad
9. Transit
10. Seven (feat. Tony Njoku)
11. Soap


Modern Woman share new track “Ford”

Photo by Sandra Ebert

Modern Woman have shared “Ford“, their first new music since the release of the debut EP Dogs Fighting In My Dream. Over angular guitars and pounding drums, lead singer Sophie Harris details the story of a girl borrowing her brothers Ford. “You have to treat her or you’re messing up the outside” she sings with a stern intent as if its the most important instruction you’ll ever hear. The twisting melodies and up and down vocal passages that Harris delivers drive this track to make it both weird and wonderful in every moment, never knowing which path it might take next.

“‘Ford’ has been one of the oldest songs in our repertoire.”, says singer and guitarist Sophie Harris, “I wrote the bassline loop for it a long time ago, one day when I only had a bass to hand. I structured the song and added guitar and simple vocal. I wanted to give it a raw and slightly sinister feel to it. We can spend an incredibly long time working a song in our practise space before we ever play it live, so we wanted to make sure that energy resonated through the recording”

Listen to the new single below!


Lizzie Reid shares new track “Warpaint”

Photo by Matilda Hill Jenkins

Lizzie Reid has shared “Warpaint”, the third single from her upcoming EP Mooching, set to be released on July 27th via sevenfoursevensix. It follows on from “Bible” and “How Do I Show My Love?” released earlier in the year.

Co-written alongside Frightened Rabbit’s Andy Monaghan “Warpaint” is surging with indie delectability, evoking the likes of Angel Olsen’s My Woman through the tremolo-tinged guitars and melody-driven chorus. It’s Reid’s most anthemic track yet and is a feel good ballad for letting go of your anxieties and enjoy right now.

Speaking about the song, Lizzie said:

“‘Warpaint’, to me, is a song that says enjoy today and stop worrying about the details. There are challenges ahead but for now, live in the moment, enjoy making music and go out and experience new things.

Listen to the new single below!


GLOWS share new single “Chaser”, announce debut EP

GLOWS, the London-based electronic duo of GG Skips and Felix BH have announced their debut mixtape LA, 1620 set to be released in September via Slow Dance Records.

Gaining acclaim for their live shows, GLOWS’ capture the magic of the dance floor on new track “Chaser”. From its slow rising chords to the groove-inducing beat you can’t help but become lost in the hypnotic world that GLOWS inhabit; letting you in for a few minutes of downtempo bliss.

Speaking about the single founding member GG Skips said:

“Chaser feels like the axiom on which Glows was based, the first song I made that people took seriously,” skips says of the single. ‘It’s about chasing the night, about addiction seeping through friendship, about supporting each other through all falling down.’

Listen to the new single below!

Soccer Mommy – Sometimes, Forever Review

It’s been nearly four years now since Sophie Allison exploded into acclaim with the release of her debut full length album Clean, an album that detailed the tragedy and heartbreak of long distance relationships and teenage love. She perfectly captured the constant battle of desire and despair of those formative teenage years when everything feels like the greatest tragedy known to man. Allison was 20 when she released Clean, and now sitting at 25 the demons that she’s always battled with still reside within her but with age has come wisdom about what she needs and in what design.

What set apart Allison’s debut album from the rest of the Americana indie rock heartbreak albums of the time was not just her intimate songwriting but the production of how she gave life to her tracks. From the raw and crystal clear sound of opener “Still Clean” with its sparkly guitars and interjecting synth swirls, to the crashing waves of feedback on “Scorpio Rising”, the trickery was subtle but helped create a wooden forest of sometimes unsettling and often graceful soundscapes. On her sophomore album color theory Allison often leant into elements of shoegaze she’s so often referenced, like on the expansive “yellow is the colour of her eyes”. Now this time with electronic wizard Daniel Lopatin aka Oneohtrix Point Never at the helm of production, Allison’s sound has entered a new dimension of spectacular. The usual chugging guitars and backing band are in full force as the album opens with “Bones”, which moves from solitary ballad to grand orchestra of love induced soundscapes with twinkling guitars and distorted rises, this is Soccer Mommy turned up to 11. You can’t help but recall every intimate moment you’ve spent with someone you truly care for as the drums crash and the synths swirl on “With U”, becoming absorbed in the beauty of its grandiose expression of love. Lopatin’s electronic background comes out in full force on “Unholy Affliction” with the distorted synth-bass and hip-hop tinged drums battle out for which instrument can be the most demonic, helping bring a true darkness to Allison’s sound that’s only been hinted at before. Allison is older, wiser and more compelling now than she’s ever been, with her sound growing at an exponential rate, showcasing just how devastatingly beautiful Allison’s work really can be in the hands of a production magician.

Growth and appreciation is what this album is all about. Letting the past go, facing the demons you thought would once bring you down with a new sense of adversity and triumph. And growing to allow yourself to be loved by others. “I’m trying to be someone you can love and understand, but I know i’m not” Allison sings on opener “Bones” facing the self-doubt of her ability to be who she wants to be. And eventually growing tired of the lifestyle she now leads, “I’m tired of the money and all of the talking at me, I’m barely a person, mechanically working” she declares on “Unholy Affliction”. Allison was just 18 when she released her debut tape For Young Hearts, her entire adult life has been swallowed by the forever churning wheels of music stardom; and at this point she just wants to be able to be herself. Eventually facing some of her darkest moments on the Billie Eilish infused and sci-fi horror driven “Darkness Forever”. “Darkness forever, a cold sinking ocean, I want to feel the warm of relief, the devil is chasing hard on my tail” she sings and it seems as though all could be lost to the weight of the world around her. Allison not only instills the feeling of overwhelming dread but submerges you right into it, allowing all its despair to wash over you in a wave of synthesisers and searing distorted guitars.

But like a phoenix rising from the ashes Allison finds a light to hold onto, exploding the second half of the album open with the brit-pop stadium rock driven “Don’t Ask Me”. It’s got the big riffs, distorted guitar lines and a soundscape that Kevin Shields would take a double take at and wonder if he could use it on the forever, never fourth MBV album. For all the twists, turns and expansions that this album has taken so far though Allison decides to take it back to familiar ground on “Fire In The Driveway” with a stripped back moment that although is centered around the feeling of wanting to move on, does almost the opposite with the pacing of the album, slowing it down from the momentum it was building.

However like any compelling mystery, this proves to be a red herring as the following “Following Eyes” opens up a new side of this album that’s been lurking in the shadows waiting to emerge; the horror. “Beneath the half moon, the witching hour had me bound, an apparition, called to me without a sound” sings Allison over the skulking guitar lines. A long time Buffy The Vampire Slayer fan, Allison abstractly details a calling of an evil force pulling her in as she can’t escape the evil glare that follows her every move; the prominent backbone of many a Buffy encounter. On the surface its Allison showcasing her adept storytelling ability of the supernatural, but within lies something more evil than anything, the demons that bury themselves deep within us waiting to emerge. Allison has always put her emotions at the forefront of her work and now she uses them to detail the abstract, a sign of a truly brilliant songwriter.

“I lost myself to a dream I had” she sings on “Still”. Well it looks like now she may just have found herself again, and the version of herself that she’s found is the most daring and enigmatic we’ve seen yet. Bowing the album about in true Soccer Mommy fashion, Allison summarises her trials and tribulations into one last nostalgia inducing diary entry that washes over you like a wave of serenity. Allison has always been a voice of her times and she’s never showed it more vibrantly and expansively than on Sometimes, Forever. “Got pain in my back, 22 going on 23” she sings on “Feel It All The Time” and i couldn’t have put it better myself.


Louien Announces new ep ‘Figure Me out’, shares new single

Photo by Julia Marie

Norwegian indie folk singer Louien, aka Live Miranda Solberg has today announced Figure Me Out, her new EP coming on September 16th via Jansen Recordings. The announcement also comes alongside new single fiery new single “No”, which showcases Solberg’s devastating ability to pull out every last emotion from a song. Instrumentally pulling from Radiohead’s OK Computer era with its cascading atmospheres, mixed with the bruising lyrics that Solberg sings, “It’s like you left your mark on everything, I can’t, no I can’t, the lights go out around me, There’s no way you will change” she declares.

Speaking about the song, Louien said:

“This song is about boundaries! I know it’s a lame topic! But I wrote this when I was very angry at someone for not listening to me. Why does it take so much for some people to take a hint?!”

Listen to the new single below!

01 Crazy
02 Figure Me Out
03 No
04 Second Best
05 Bridged By Fire
06 Desert


Moreish Idols announce debut EP “Float”, share new single

Photo by Caspar Swindells

Moreish Idols, the London-based five piece have announced “Float“, their debut EP set to be released on August 12th via Speedy Wunderground. Pre-order here. The announcement comes alongside the release of new single hyper-saxophone driven single “Hangar” which follows on from “Speedboat” released earlier in the year.

Listen to the new single below!

Speaking about the EP Jude Lilley said:

“The most exciting thing for us as a band is capturing our performances live, which something Speedy is renowned for. Everything you hear in the EP is us in the room working together as unit – apart from Dyl who recorded his take across the whole EP in one! There’s something really cool about listening back to the takes and realising ‘this is what the room sounded like 5 minutes ago… and that’s us making the noise’. To us “Float” is a collage, and a demonstration of the band putting everything in the mixer and seeing what comes out (lyrics included) and it’s exactly what Dan heard before getting us involved with the label.”


1. Hangar
2. W.A.M.
3. When The River Runs Dry
4. Speedboat


Pianos become The Teeth announce new album ‘Drift’, share lead single

Photo by Micah Wood

Baltimore/ D.C. post-hardcore group Pianos Become The Teeth have announced Drift, set to be released on August 26th via Epitaph. This is their first album in four years since 2018’s Wait For Love. Pre-order here.

A press release said about the album:

There is a sense of mystique and familiarity on the album, assisted by producer Kevin Bernsten (Integrity, Pig Destroyer) who recorded their first two projects over a decade ago. Bernsten’s history with the band allowed him to push them toward the future without abandoning their past. Kyle Durfey reflects, “Kevin knows who we used to be and he knows who we are now and he was really down to experiment and try anything in the studio to see how it would work.”

The band have also shared “Genevieve”, the first single from the album which sees the band lean into a more angular and atmospheric sound, similar to 2014’s Keep You which was the bands first transition away from screamo and into post-hardcore.

Listen to the new single below!


Drift Tracklist:

Out of Sight 
The Tricks 
The Days 
Hate Chase