The Lazy Eyes announce first UK tour, share new single “Hippo”

Photo by Jack Moran

Australian psych-rock four piece The Lazy Eyes have shared groovy and brain scattering new jam single “Hippo” from their upcoming debut album Songbook, set to be released in March. Pre-order here.

“Hippo is my favourite song on the record,” shares bassist Leon. “You can really feel the energy coming together as a group, given that it was one of the three songs on the album that we recorded as a band.” 

Listen to the new single below!

The band have also announced their first ever UK stopping in London, Manchester, Bristol and more.

Buy tickets here.

MAY

16 – Leeds – Headrow House
17 – Manchester – Deaf Institute
19 – Bristol – Exchange
20 – London – Omeara
22 – Birmingham – Hare & Hounds

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Ruby Fields – Been Doin’ It For A Bit Album Review

Self Released – 2021

Australia’s latest export Ruby Fields has been gracing the airwaves with her moving and yet festival worthy ballads for a few years now. First emerging in 2018 with her Your Dads Opinion For Dinner EP. Followed closely by “Dinosaurs”, the lead single from her second EP Permanent Hermit, which reached #9 on the Triple J hottest 100 for that year and became ARIA Platinum certified. Now after nearly 3 years she’s returned with an album that likes most aspects of life in recent times had a very stop-start approach. Recording began at the beginning of 2020 but wasn’t completed until much later in the year for obvious reasons. This period away from the studio allowed Fields to indulge in reflection of life, both in the spotlight and in the everyday. The final result is Been Doin’ It For A Bit, a collection of diary entries from Fields that form a collective picture of youthful tribulation.

The immediate impact of “Song About A Boy” sets the tone for most of this album; direct and emotionally poignant. She doesn’t waste time in moving from melancholy verses to anthemic chorus’, binding the two together with her evocative vocal performance and familiar Aussie twang. It’s this knack that have left some naming her the Australian Phoebe Bridgers, with the track reminding greatly of the structure of fan favourite “Kyoto” off Bridgers’ latest Punisher. This mood continues onto “R.E.G.O” where Fields delivers her first of a few early 2000’s Avril Lavigne-esque bangers, continued later on the likes of “OUCH”. Between the tender moments of the album, these outbursts offer a rage induced eruption, keeping the flow of the album pumping.

What sets this album apart from Fields’ previous workings is her storytelling ability. In our interview with her she described how most songs come as part of real life experiences rather than stories she’s created. And on Been Doin’ It For A Bit she turns simple suburban life into timeless stories of human behaviour. “I woke up and you were in the kitchen / Talking with my mum / She was bitching / You couldn’t care less but you sat there unblinking” she recites on “Kitchen” with a formidable flow, recounting those moments we often tend to overlook but wish we could hold on to once they’re gone. It’s not just home events she sings of however, with “Bottle’O” reminiscing in a trip to a local beer shop and having to explain that she’d lost her ID. It may sound a quaint event but thanks to the intimate sound Fields brings from the rolling piano line and sailor-like harmonies she turns into a collective appraisal for the simplicities of life.

Fields doesn’t just turn days into songs however, but lets some of her most intimate moments and feelings shine through in immediately enthralling ways. On “Pokies” she opens up with the line “My old man loves a slap at the pub” before listing details of addictions to gambling, smoking and drinking. It’s Fields trying to come to terms with the problems that placate those closest to her. She builds up her anxieties until the chorus outcry of “Oh the ages” where you can feel that she’s releasing every last ounce of stored emotion comes flowing out whilst still holding the restraint in her voice to stay collected. She has to be strong for the around her but can’t help let her feeling slip through the cracks.

What helped “Dinosaurs” reached both the chart and emotional heights that it did was in part the nostalgia that Fields induced with the songs sound, but also the way it kept you hanging on until it’s climactic crescendo of grungy and pit-inducing guitars. Fields follows this trend at moments like on the penultimate “Clothes Line” as she questions over wether her life has had meaning “If the reaper comes to claim me and all I’ve gone and done / Is write some shitty music and take some shitty drugs,” she self deprecates with. It may give more hints at its final form than its predecessor but these act as slow wells of emotion as Fields become more entrapped in the idea of being unworthy. The trope can get a little worn out on occasion, with “Airport Cafe” the sparseness suddenly becomes over-flooded with distortion heavy guitars that never really offer much palette-wise that can’t be found on the rest of the album.

The debut album is always a piece of art that will remain as significant to an artist the day it was released until the day the day they stop playing, and for Fields it’s certainly hoped that that day is a long way away. This album not only serves as a new standard for Fields songwriting ability, but also a collective work of everything she’s formed for herself up to this point. Kick back and grab some beers because this is one to enjoy the Sunday sunshine to.

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Ruby Fields has Been Doin’ It For A Bit

Photo by Cole Bennets

Ruby Fields has certainly been doing it for a while. Her first taste of viral fame came in 2018 after the release of her debut EP Your Dad’s Opinion for Dinner. Gaining attention from Australian Indie radio heavyweights Triple J, Fields then found acclaim amongst the ever expansive Australian independent scene which landed her support tours with the likes of Ball Park Music and San Cisco. And then in late 2018 she released “Dinosaurs”, the lead single from her second EP Permanent Hermit. The single reached #9 on the Triple J hottest 100 for that year and became ARIA Platinum certified. Everything seemed to be falling into place for Fields, landing slots at Laneway Festival and Splendour In The Grass in 2019, and 2020 was set to be more of the same.

Recording for her debut album as well as touring was brought to a halt at the start of 2020 for obvious reasons and Fields went on a forced hiatus. She then spent the time alone fleshing out the ideas she already had and found a new self confidence to create an album that focuses on toxicity in relationships, alcohol and drug abuse, and battles with mental health. The result is Been Doin’ It For A Bit, an album that takes Fields songwriting notoriety to the next level, being heartbreaking and heartwarming in the same moment. She still has a knack for bangers, through the likes of “Song About A Boy”, but there’s a level of maturity on this album that has been found through time. “If the reaper comes to claim me and all I’ve gone and done / Is write some shitty music and take some shitty drugs” she sings on “Clothes Line”, revelling in her success and wondering what it’s all for. But reversing that she’s now found reverence in the simplicities of life. “I woke up and you were in the kitchen / Talking with my mum and she was bitching / You couldn’t care less, you sat there unblinking / Those orange curtains sure bring out the blush in your cheeks” she recalls on “Kitchen”, revelling in the beauty of everyday situations.

Been Doin’ It For A Bit feels like a collection of diary entries from Fields, both the highs and lows of everyday life and under the spotlight, soundtracked by grungy guitars and melancholic moods. To find out more we asked Ruby a few question about the new album and her journey up to this point.

How long have you been doin’ it for?

If this was a reference to the album title, love it. In reality.. not too long. I’m 23 now.. I started busking when I was 13, playing in pubs since 14, and wrote the songs in our discography from when I was 16. So depends on where you think it counts, but officially I’ve been playing those songs as Ruby Fields in the band since I was 18. I’m not good at maths.

Over what time was this album written and recorded? 

The album was written over about 2 years and recorded a year and a half ago at the beginning of COVID in New Zealand and finished in Byron.

What is the main theme you’re exploring on the album? 

I think the theme to the songs is always whatever I’m going through at the time, I’ve always liked to imagine you could hear a bit of a journey of me growing up through the zones around Cronulla (where I was born) to moving out of home and entering my twenties. Maybe nostalgia?

Did the last year change the album at all? And do you feel you’ve changed over the last year as a person?

I reckon any musician changes from the conception of a song or album to the release.. I will say it feels like not much has changed during COVID but a year ago I was living south of Sydney in a big share house with my bandmates and now I live on a farm in the Northern Rivers where I’m building a little home studio.. so maybe my commitment has amped up a bit. The album itself hasn’t changed too much though I don’t reckon, it’s kind of given me the time to appreciate all the songs.

What allowed you to overcome your initial hesitancy on releasing “Song About A Boy”?

I wrote Song About A Boy when I was 20 and I probably just feel so far removed from the idea of the song by now that it didn’t bother me anymore, and I let myself feel really proud of the lyrics and the song that the boys and I created.

Who are some of the biggest influences your sound?

My earlier stuff was definitely influenced by Violent Soho and Goons of Doom, both of whom I adore, but more recently I’d say Phoebe Bridgers and Tegan & Sara.. I love their lyrics and the ways they build up their songs.

And what influences your songwriting? Is it diaristic or therapeutic? 

I’d say it’s both. I was talking to a mate about this the other night but I’d say a good percentage of music is written in times of sadness or distress, mine is anyway haha. I’ve definitely written when I’m feeling super happy or inspired too though. Most of it is directly about my experiences, I have a real hard time trying to tell a story.

On “Clothes Line” you ponder what you’d say to the grim reaper when he comes, is this something you think about a lot?

I actually found the first lyric of the chorus in “Clothes Line” in an old English book from school and structured the song around it when I was about 21. I must have been playing heaps of Sims at the time.

Have you been able to play any shows this year? If so how have you found getting back on stage? 

We were pretty fortunate to play a fair few shows during COVID, with restrictions of course, which was odd. Our shows have always been a bit loose and without the option to have a dance floor or mosh I think it pushed me over time to try and create a better atmosphere and pick up my weight as a performer.

Your band seems very tight in terms of sound and as people, where did you all meet and what do they bring to your music? 

They’re my favourite people in the world. I met Pat (drummer) in high school, he was band captain and a really good skater I remember, and when I saw him years later at my work at a bar I asked if he’d be keen to demo some drums and then just straight up asked if he wanted to join the band. I met Adam (guitarist) when I was about 15, he was in another band in the Shire that I loved and we had some coffees and did some demos and eventually started working, writing and living together. Tas (bassist), I met last when I was about 16 through a mate at a party and we instantly got along and lived together a while later and when he said he was keen to quit his job I asked if he’d join as well. I really believe we were always meant to be in a band together and I’ve never found a bunch of more forward thinking, kind, hilarious and creative people. They saved my life and bring so much to the music, from recordings to performances to deep chats about life to laughing into early hours of the morning.

What has been the biggest achievement of your career so far? And what is something you hope to achieve? 

I think I should say our Splendour in the Grass performance in 2019. It was our biggest crowd to date and full of friends and we were all on cloud nine. Really though, it might sound clacky but I think my biggest achievement is having a group of people around me where we all believe in each other and love working together. The boys and I obviously, but also every other person that contributes. That’s the whole point, to me.

If anything, what would you change about the music industry? 

There’s levels of competitiveness in every industry but I think in music we’ve all been pretty fuckin’ good at banding together as a community especially lately in terms of the Me Too movement, through climate disasters, COVID etc. We’ll always need more representation for female-identifying and indigenous artists, which is a slow progress but something that’s shifted positively in the last few years.. which shouldn’t lead to complacency but more inspired change.

Been Doin’ It For A Bit is out September 24th, pre-order here.

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Sycco releases debut EP ‘Sycco’s First EP’

Photo by Madeline Randall

Sycco, aka 19 yo Brisbane, Australia-based and First Nation writer/producer/artist Sasha McLeod, today shares her pop-driven, psych-infused, dance-inducing (and concisely titled) debut EP via Future Classic. To accompany the EP’s release today, Sycco also shares a new visualizer for “Past Life”, watch below.

Of today’s release, Sycco shares, 

I can’t even begin to explain how excited I am that ‘Sycco’s First EP’ is actually out there. It’s psychedelic, it’s random, it’s enthusiastic, it’s colourful – it’s everything I wanted ‘Sycco’s First EP’’ to be.

Listen to the EP below!

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.

The Lazy Eyes share new single “The Island”

Photo by Jack Moran

The Lazy Eyes have shared “The Island”, the last single from their upcoming EP2, out tomorrow July 16th. This follows on from previously released single “Where’s My Brain???” which will also appear on the new EP.

The Australian 4-piece continue their run of psychedelic mind-benders that twist and turn at every corner on the new single. Starting with melancholic lo-fi textures that evoke the feeling of POND’s Man It Feels Like Space Again before descending into an acoustic riptide of phased out guitar lines and spacey vocals. It’s only when the track reaches its instrumental break do you realise the full potential of Lazy Eyes. Kicking back in with Sabbath-worthy fuzzed out guitars and screeching guitar lines the band bring out every psychedelic trope in the book, and it works.

On the track the band said:

“’The Island’ was written about a place where none of The Lazy Eyes band members have been in real life, and acts as the sequel to ‘The Seaside’ from EP1. It’s an imaginary island that is a sort of utopia but is also filled with mystery. The writing process and a demo recording took place in Harvey’s childhood bedroom, he recalls, ‘all I remember was recording a terrible demo on GarageBand and really struggling to sing it because I had a cold that day. It’s interesting to hear the demo these days because you can hear the parts before they were refined as a result of playing the song over and over live.’”

Listen to the new single below!

Ruby Fields releases new single “Song About A Boy”, announces debut album

Photo by Cole Bennets

Australian indie rocker Ruby Fields has shared new single “Song About A Boy” and announced her debut album Been Doin’ It For A Bit set to released on 24th September 2021. Pre-order here.

The new single teases what’s to come for Fields debut album and keeps in style with her typical earnest songwriting style. Heartbreak aplenty Fields details the fallout of a relationship through soaring guitars and a festival worthy soundtrack.

Speaking about the new single Fields said:

“I was really on the fence about releasing this track, because when you release a song you immortalise it –– whether you still feel those things or not,. Regardless of it all, this is a song about your feelings being caught up in someone that’s not right for you.”  

Listen to the new single below!

Tracklisting:

1. Song About a Boy
2. R.E.G.O
3. Kitchen
4. Bruises
5. Airport Cafe
6. Pokies
7. Pretty Grim
8. OUCH
9. Worms
10. Clothes Line
11. Bottle’o

Merpire announces debut album, shares new single “Village”

Merpire, aka Melbourne based singer-sonwriter Rhiannon Atkinson-Howatt has announced her debut album Simulation Ride to be released via Warner’s ADA on 23rd July. She has also shared new single “Village” along with an accompanying music video directed by Nick Mckk.

On the new single Merpire is humbly honest, speaking on themes of self-doubt she draws a portrait of an artist with sincerity at the forefront. Smooth instrumentation backs Merpire’s naturally cool lowkey vocals. Honing in the sound of those early Soccer Mommy tapes with a grungier outburst, Merpire achieves indie brilliance.

Speaking on the new single Rhiannon said:

This loosely inspired the idea of it taking a village to nurture someone. Sometimes I would get so caught up in self doubt, seeing qualities in people that I didn’t think I had, that I forgot to see what qualities I had that they might love me for. I constantly put pressure on myself to be happier, more energetic, more sociable. I didn’t see myself as an interesting person without that or without my music and when I was feeling tired or withdrawn I’d beat myself up about it, not feeling worthy of company and thinking I was just a boring person who happened to be a musician (and punt people around on a boat in the gardens apparently?!). This affected my relationship. I didn’t believe someone could be in love with me when there seemed to be way more interesting people out there.”

Listen to the new single below!

Tracklist:

  1. Village
  2. Lately
  3. Brain Cells
  4. Habit
  5. Dinosaur
  6. Sink Interlude
  7. Easy
  8. Heavy Feeling
  9. Old Vein
  10. Sink In
  11. Yusiimi

Pond share new single “Pink Lunettes”

Photo by Jim Bob The Homie

POND have shared new single “Pink Lunettes” along with an accompanying visualiser directed by Jamie Terry. This is the Australian psych-rock/ pop outfits first single since their 2019 album Tasmania.

The new single sees the band take a more electro-pop disco approach to their sound, moving away from the synth rock style of Tasmania and The Weather. It’s groovy, hypnotic and has a comical undertone as Allbrook sings “Suck your mothers face” over one chorus.

Speaking on the new single frontman Nicholas Allbrook said

“I think we managed to jitter along the neon tightrope between totally unhinged, strobing spontaneity and focused forward momentum,”

Listen to the new track below.

SKEGGS share new single “Bush TV”

Photo by David Harrington

Rising Australian punks Skegss share new single “Bush TV” ahead of their new album Rehearsal out this Friday (26 March) via Loma Vista Recordings. The infectious track comes with a Jamieson Kerr-directed video, showing the freedom of the great outdoors, from riding dirt bikes on drummer Jonny Lani’s own farm, hanging with bassist Toby Cregan’s dog Blaze, to swimming, barbecuing, and drinking beers by the fire pit.

On directing the video, Jamieson says

 “The video was a lot of fun to make. The motorbike shots were pretty wild. I was in the back of a Ute hanging off the end with my camera whilst we were pinning it around bends and bumps. At one point I got some air which was pretty scary. It was lovely to see Jonny’s farm, it was my first time out there, and it was so nice to see him in his element. It was also my first time shooting super 8, when I sent it to get developed, it didn’t turn up for ages and the post was saying it was lost in transit which was devastating, but it eventually turned up and I’m stoked with how it turned out.”

While “Bush TV” is tinged with a feeling of bittersweet nostalgia, it also showcases the youthful intensity for which Skegss is known, and its video is a peek into the fun loving attitude that also permeates Rehearsal’s 13-track thrill ride. From the playful romp of single ‘Valhalla’ and the intoxicating narrative of ‘Running From Nothing’, to the staggering beauty of singer Ben Reed’s acoustic ballad ‘Wake Up’, Rehearsal encapsulates Skegss’ sound: nostalgic riffs, tight hooks, and masterful storytelling. 

Watch the new video below.