Upset, July 2023

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July 2023

Everyone loves a festival, but anyone who spends even a short period of time in our scene knows that 2000trees isn’t just another festival. Beloved of both fans and attendees alike, it makes early July into a haven of community, sustainability and great music. This year is no different, which is why we’ve dedicated a huge chunk of this issue to previewing what you can expect. We’ll see you there.

RIOT! 4. Slam Dunk 8. Royal Blood 10. Creeper 12. CIEL 14. Kids In Glass Houses 16. YONAKA ABOUT TO BREAK 18. Shelf Lives 2000TREES 20. The Xcerts 32. Militarie Gun 36. Prima Queen 37. Koyo 38. Heriot 40. Big Special 41. Hannah Grae FEATURES 42. Honey Revenge 46. Trophy Eyes TEENAGE KICKS 54. Best Ex

Stephen Ackroyd @stephenackroyd Editor

UPSET Editor Stephen Ackroyd Deputy Editor Victoria Sinden Associate Editor Ali Shutler

Scribblers Alexander Bradley, Alex Ingle, Kelsey Mclure, Linsey Teggert, Rob Mair, Sam Taylor, Steven Loftin Snappers Bethan Miller, Frances Beach, Harry Steel, Jennifer McCord, Jordan Knight, Lizzie Clark-Nørgaard, Sarah Louise Bennett, Tahmid Nurullah, Tom Beard PUBLISHED FROM WELCOMETOTHEBUNKER.COM PO BOX 420, HASTINGS, TN34 9LZ

All material copyright (c). All rights reserved. This publication may not be reproduced or transmitted in any form, in whole or in part, without the express written permission of The Bunker Publishing Ltd. Disclaimer: While every effort is made to ensure the information in this magazine is correct, changes can occur which affect the accuracy of copy, for which The Bunker Publishing Ltd holds no responsibility.

The opinions of the contributors do not necessarily bear a relation to those of Dork or its staff and we disclaim liability for those impressions. Distributed nationally.

THE MONTH IN ROCK

SLAM DUNK Festival season is in full swing, with a bunch of faves taking over Leeds and Hatfield for SLAM DUNK.

Words: Alexander Bradley, Ali Shutler.

Photos: Frances Beach, Sarah Louise Bennett.

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→ AS ROU REYNOLDS PASSIONATELY EXPLAINS ONSTAGE AT SLAM DUNK, live music can’t help but forge a sense of community. Whether we like it or not, being together in a field with strangers listening to music inspires unity. It doesn’t matter whether that’s the boozy singalongs of Flogging Molly, the angsty punk of The Offspring or a new generation of vibrant rock acts like Wargasm, Charlotte Sands, Vukovi, Scene Queen and Zand who spend the weekend guesting during each other’s sets, bigging each other up in interviews or cheering on from the sidelines. It makes sense that Shikari are the perfect band to headline this joyous love-in.

Over the past few records, Enter Shikari have evolved from angsty rave-rockers to a constant source of vibrant positivity. Their headline set finds a balance between the two, with the likes of ‘Pls Set Me On Fire’ and ‘A Kiss For The Whole World’ channelling sheer, poppy euphoria while ‘Juggernauts’, ‘Anaesthetist’ and ‘Arguing With Thermometers’ are more vicious than ever. The band hits hardest when they’re a force for communal rage though, with Wargasm joining them onstage to perform a menacing ‘The Void Stares Back’, while Cody Frost jumps into the quickfire round to help out with a glitching ‘Bull’ and a defiant ‘The Last Garrison’.

Armed with an impressive light show and bucketloads of eco-friendly confetti, Shikari’s set constantly finds hope as the band strive for higher heights.

And it’s a good job they demand such positivity because there’s a feeling of tension in the air at Slam Dunk. According to various punters on social media, actually getting onto either site is a gruelling ordeal, and things don’t get much better from there. A lack of toilets, drinking water, food stalls and general accessibility for the sellout crowds all appear as regular complaints.

Seventeen years in the game, it’s clear that a lot of regular attendees believe that something has gone quite seriously wrong, and they want answers.

Even the bands struggle. Shikari

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are delayed getting onto the site at the start of the day, while Zand doesn’t get a soundcheck and is cut off at the Southern leg of the event before they have a chance to perform breakout hit ‘Slut Money’. It’s perhaps why they hit the stage at North with such devilish urgency. Opening with the

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warped ‘Boys Luke U’, Zand’s fierce electro punk soon finds a home on the festival’s biggest stage, and they seem to relish the space.

Heriot are by far the heaviest act playing at Slam Dunk this weekend, but they still pull an impressive crowd to the dark confines of the Knotfest tent. The

breakdowns are as brutal as you’d expect, while growling vocals and crunching riffs spark moshpit after moshpit, but there are also moments of ethereal beauty and gorgeous pop hooks, giving their set a wonderful sense of unpredictability. Static Dress might be poppier by comparison, but their set is just as visceral and delightfully disturbed as they perform their increasinglyanthemic post-hardcore in front of flickering TVs and a crucified figure.

Back on the main stage, Vukovi bring 2022’s ‘NULA’ to life with staggering confidence. A colourful, sci-fi concept record about escapism and the abuse of power, it delivers intense empowerment, and live Janine Shilstone only dials that euphoria up. Demanding circle pits and treating the huge stage like a playground, Vukovi are very much where they belong.

Trash Boat keep the party going with their stadium-sized punk rock that’s driven by ambition but delivered with a smirk before Wargasm put in another commanding performance.

The duo are well-versed in big stages now and, following a North American tour with Limp Bizkit, know

exactly how to conjure giddy chaos. There’s a debut album on the way, and if it’s half as good as today’s set, they’ll soon be challenging for the top spot at festivals like this.

Holding Absence have been working their way up the Slam Dunk line up for a number of years now and look right at home on the main stage, while Kids in Glass Houses make a triumphant return with a 15th-anniversary celebration of their iconic debut album ‘Smart Casual’, and the hazy evening sunshine is the ideal setting for Yellowcard to bring ‘Ocean Avenue’ to Hatfield. Celebrating the 20th anniversary of the seminal pop-punk record, the violin-wielding scene kings elected to play the full album from front to back. With the monumental anthem ‘Way Away’ opening proceedings and massive hits like ‘Only One’ and the title-track, the album has lost none of its potency in the last 20 years. Still fraught with emotion, massive choruses and more violin than you thought you’d ever need, ‘Ocean Avenue’ remains a benchmark for pop-punk, and their performance is no different.

Boston Manor pack out the tent for their set, which focuses on 2022’s brooding ‘Datura’ album and the preceding ‘Desperate Times, Desperate Measures’ EP. Between the live debut of ‘I Don’t Like People (& They Don’t Like Me)’ and a skyscraping ‘Halo’, Boston Manor prove why they’re one of the very best in the scene, meaning the promise of a new album for next year is exciting, but the wait already feels agonising.

The Maine also tease a new album during their headline set on The Key Club stage. Vocalist John O’Callaghan has the crowd in the palm of his hand for the duration of the gig, using that power to organise a coordinated vape to make

up for their lack of a smoke machine with mixed results.

Still, the bouncy, passionate and energetic set is a whole lot of fun as The Maine rifle through hits old and new.

Finally making it to Slam Dunk after being forced to cancel last year, Spanish Love Songs make up for lost time with a set packed with some sad sing-a-longs.

‘Brave Faces Everyone’ has become something of an emo cult classic since its timely release in 2020, and the chance to revel in the misery of ‘Losers’, ‘Losers 2’ and ‘Kick’ in unison is not something to miss. With their new single ‘Haunted’ standing shoulder to shoulder with hits off their last album, Spanish Love Songs assured the next record will pick up from where they left off.

The real party at Slam Dunk is over at the dual Key Club stages, though.

Maggie Lindemann’s aggy 00s alt-rock sounds polished but is delivered with a real grit, while Lolo’s buoyant punk-pop is perfect for an afternoon in the sun. One heckler disagrees, but Lolo soon puts him in his place, winning over the crowded field in the process.

Charlotte Sands’ guitardriven pop has a lot more bite to it live, while her vocals remain as impressive as ever before what seems like every person at the festival turns up to watch Scene Queen. They seem a little taken aback at the size of the mammoth crowd, but that doesn’t stop them from demanding “twerkle pits”, calling out misogyny and homophobia in the scene and generally having the best time. Her industrial pop is as beautifully jarring and unruly as ever, but Scene Queen is a master of controlling an audience, whatever the size.

Days after their rebirth, Creeper take to Slam Dunk for their first proper gig of the year. The show

starts with vocalist Hannah Hermione walking out onstage and holding up the head of Creeper’s frontman, Will Gould. The rest of the band then appear and launch into last year’s punky ‘The Ghost Brigade’ as Will reappears, all the parts back where they should be.

The show only gets more theatrical and outrageous from here, as the band confidently swing between country love song ‘Crickets’ and wonderfully over-thetop new single ‘Cry To Heaven’. It’s an audacious comeback, but with songs as timeless as ‘Misery’ and

‘Hiding With Boys’ in their back pocket, why wouldn’t Creeper be feeling a little cocky.

It’s a shame, really, because, with their new vampire get-up, a line about Creeper sucking would be pretty satisfying.

It’s somehow been eight years since PVRIS’s first time playing Slam Dunk, and a lot has changed in that time. Their music still has touches of the dark and brooding, but for the most part, today is a relentlessly upbeat 45 minutes, with recent singles ‘Animal’, ‘Goddess’ and ‘Monster’ all sounding absolutely gargantuan. Vintage PVRIS tracks like ‘You & I’ and ‘My House’ come with a familiar warmth but still feel as exciting as ever, while the glitching rage of ‘Gimme A Minute’ and ‘Death Of Me’ compliments the dreamy ‘Hallucinations’. PVRIS have always been a band that have thrived despite the contradictions, but there’s a newfound sense of peace to this new era, with all the jagged directions and clashing sonics coming together to create a mesmerising, powerful and potent set. When music is this good, everything else melts away. ■ Upset 7

MIDNIGHT ROYAL BLOOD are in the throws of quite a comeback, with new single ‘Mountains At Midnight’ out now, and a new album imminent.

SPECIAL Words: Ali Shutler. Photo: Tom Beard.

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→ “I’M SURE THERE are people out there who think what we do is easy,” says Royal Blood’s guitarist Mike Kerr.

“Go ahead and try it,” he offers with a smirk. “There’s nowhere to hide in this band.”

The rock’n’roll duo are back with new single ‘Mountains At Midnight’, taken from their upcoming fourth album ‘Back To The Water Below’.

“It feels like the sort of Royal Blood song that should have always existed,” says Mike, taking a break from “dusting off the cobwebs” in their rehearsal space ahead of a run of stadium shows supporting Muse, festival headline slots and their own homecoming gig on Brighton beach later this summer.

The new songs already feel “very livefriendly”.

‘Mountains At Midnight’ started taking shape while the band were on the road in support of 2021’s ‘Typhoons’. “You’re composing in the context in which you want to play, which was so helpful,” explains Mike, with ‘Mountains At Midnight’ feeling “powerful” because of how locked in he and drummer Ben Thatcher were.

“We’ve never had anything this fast before,” he continues.

Writing on the road meant that the new songs had to feel exciting because there was already so much going on.

“Testing out new material at big venues reinforces the confidence to do less because it’s so loud,” says Mike. In the quiet of the studio, there’s a temptation to put in too many layers, “but you hear a kick drum in an arena, and it’s already monstrous”. “’Mountains At Midnight’ is a nod to our roots and how and why the band started, but there’s something that feels incredibly fresh about it,” he adds.

‘Back To The Water Below’ isn’t a throwback record, though. “It’s a fucking roller coaster. It’s the first album we’ve ever made that feels like a real journey, that tells a real story,” says Mike. “There are a lot of left turns on it.”

He goes on to explain that the record features many songs that the band would never have made if it wasn’t for the multicoloured disco stomp of ‘Typhoons’. “We really gave ourselves permission to do this other thing with that record,” says Mike. “This time, we felt really equipped on how to go to those other places, successfully and honestly, and it still feels like Royal Blood.”

“The biggest danger of being in a rock band right now is walking out onstage, looking cool as fuck and

IT’S THE FIRST ALBUM WE’VE EVER MADE THAT FEELS LIKE A REAL JOURNEY, THAT TELLS A REAL STORY”

MIKE KERR

hiding behind a wall of noise without having any art or meaning to what you’re doing. That’s the quickest way to get lost,” says Mike. “I want to feel what I’m saying. I want it to come from somewhere that’s real,” he continues, explaining that ‘Back To The Water Below’ is the most time he’s ever spent writing lyrics for a Royal Blood album, and the pair focused on “good songwriting” over big riffs because that’s the thing that lasts.

‘Back To The Water Below’ is the first Royal Blood album produced entirely by the band, even if the pair have always been all over their previous records. “For us, capturing energy is so much more important than anything else,” says Mike.

For years, he could explain away Royal Blood’s success by chalking it up to blind luck. “I’m over that now,” he says. “I know people saw Ben and I appear back in 2014 with ‘Out Of The Black’, and suddenly we’re at the BRIT Awards. Don’t get me wrong; I felt out of my depth, and it felt like too much too soon - but it didn’t come out of fucking nowhere,” with the pair playing in countless other bands before forming Royal Blood. “There’s nothing sexy about someone slogging it out, failing, then coming back while putting the time in to learn their craft, though.”

“We’re incredibly fortunate that we got that golden ticket 10 years ago, but the position we’re in now is very different,” he continues. “It can’t just be luck. It’s friendship and hard work.”

Now that the band are more comfortable with where they’re at, they’ve started thinking about legacy.

“I want to get to the end of my life, look back at the songs we’ve done together, and know that they were exactly how we wanted them,” says Mike. “I want to know I wasn’t influenced by trends or led astray by other people’s

expectations.”

“There are songs on this record that are wild,” Mike continues, excited to see the outrage of people asking ‘how dare Royal Blood go and do that?’ The pair have never written to appease other people, with Mike admitting that even thinking of doing that makes him feel sick. “It’s not why we started this band, and it’s not how we ended up in this position. We really honour how we got here, and that’s by Ben and I both being excited by something, whatever that is. So, of course, we’re going to follow through with all these ideas, no matter how mad they might seem from the outside.”

“We’ve got fans who’ve been with us since day one, and we’ve got people who only discovered us because of ‘Typhoons’, which was ultimately a very disco, dance-heavy record. Maybe they’ll hate this one,” he suggests.

“All expectation leads to someone’s disappointment. I just see that as more evidence to do what you want to do.”

Last year Royal Blood headlined London’s O2 Arena, and this summer, they’re topping the bill at Kendall Calling, Truck and Y Not. They’re also due to support Muse. “Just because we’re at this level where we’re headlining a festival here and there and we’ve played some big shows, it doesn’t mean that there isn’t room for improvement,” says Mike.

“I’m no fool. I know that we’ll go and play those shows with Muse, and we’ll get schooled on how to put on a show. It’s humbling, but it’s good. If you’re the smartest person in the room, you’re in the wrong room,” he adds. “We genuinely want to just be better. We might be successful, but we have a long way to go.” ■ Read the full interview in the July issue of Dork. Royal Blood’s album ‘Back To The Water Below’ is out 8th September.

Upset 9

Everyone’s favourite glam goth punks are back, and if possible - CREEPER are embracing weirdness more than ever before.

“WE TAKE THIS BAND SERIOUSLY, BUT WE’RE IN ON THE Words: Ali Shutler. Photo: Frances Beach.

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→ “WE’RE A WEIRD BAND, and we do everything a weird way,” explains Creeper’s vocalist, the newly christened William Von Ghould. Despite being beheaded onstage at the band’s November headline show at London’s Roundhouse, he seems to be in good spirits. The band have just announced new album ‘Sanguivore’, laid waste to both Slam Dunk and Download and shared sultry, outrageous new single ‘Cry To Heaven’.

While last year’s ‘Ghost Brigade’ confirmed the band’s new in-universe gang, it sparked rumours within the fanbase that Creeper were settling down or playing it safe. The horror. “We wanted to release something because we knew we’d be away for a little while finishing up the album,” explains Will. By contrast, ‘Cry To Heaven’ is a statement piece that shows the band’s “intent to keep moving forward and aggressively progressing”.

“We probably would be twice the size we are now maybe if we kept giving people exactly what they wanted, but that was never what we wanted to do with the band,” he adds.

According to Will, the epic, bombastic track “sums up a lot of the record”, but if people think they’re going to get a load more tracks that sound similar, they’ll be mistaken. “It keeps people guessing, and that’s the fun of it,” he says about the song. “Plus, it’s just really fun to dance to.”

At recent shows, ‘Cry To Heaven’ has been Creeper’s opening song (after Hannah holds up Will’s decapitated head), and the band were all taken aback by how quickly the audience has embraced the new, flamboyant sound.

“We honestly thought it would take people a while to get their heads around this new sound, which is basically a love letter to lots of the bands we were influenced by when we first started Creeper.”

The band have always worn their influences on their sleeve, and ‘Sanguivore’ is no different, with Sisters Of Mercy, Metallica, and The Damned all making their mark across the record.

Creeper have always been a fan of the gothic glam of the 80s, and working with producer Tom Dalgety allowed them to lean fully into that world. “He’s got this vast knowledge of how to make something sound real, big and immersive,” Will says.

There’s a lot going on with ‘Cry To Heaven’, with the brooding harmonies, sultry lyrics and *that* guitar solo making it easily the sexiest song Creeper have ever put their name to.

“A big part of goth music and that

subculture is that it’s sexy, but in a very camp way,” explains Will. “’Cry To Heaven’ is sexy in the same way that The Rocky Horror Picture Show is sexy.

Sleep Token’s ‘Take Me Back To Eden’ is a super sexy record, whereas our song is sexy in a silly way.”

“The biggest thing people get wrong about Creeper is thinking that there’s no humour in it,” he continues. “We take this band seriously because it’s our baby, our community, and it offers people a safe place, but we’re in on the joke,” says Will, pointing to their new head of social media, Darcia, who teased this new era by promising “it’ll be time for new music as quickly as you can say ‘I preferred the first EP’.”

Will goes on to describe the lyrics of ‘Sanguivore’ as “overblown to the maximum”, with nods to Depeche Mode and American Nightmare. “It’s a conceptual fantasy, which is what we’ve always done, but this is the most out there we’ve ever been.”

“Each time around, Creeper feels like a different band,” says Will, with ‘Sex, Death & The Infinite Void’ feeling like a grand departure from everything else that had come before. “Again, this feels different to either of those two bands,” he adds.

So, why has it taken Creeper so long to make the 80s vampire record?

“We couldn’t have started this way because the songs would have been sketchy,” explains Will, with the group needing the experience of making ‘Sex, Death & The Infinite Void’ behind them.

“We wrote over 80 songs for that record, and we scrapped most of them because they were dogshit,” he laughs.

“This has been the quickest record we’ve ever made by a considerable margin, but they’re harder songs than we’ve ever written before,” he continues. “’Cry To Heaven’ might seem simple, but it’s so reliant on that hook, you have to build the whole song around it.” And be confident in your abilities to do that.

“We’re very comfortable playing this music because we grew up with it,” adds Will.

Following the emotional and personal struggles that dominated the recording of ‘Sex, Death & The Infinite Void’, ‘Sanguivore’ saw Will and guitarist Ian Miles back together in a room, throwing ideas around between them. “It kinda felt like it did at the very, very, very beginning,” says Will before going on to call this era “a rebirth in the truest sense we’ve ever done it so far. It’s not been scary; it’s been pleasant... which is weird,” he adds.

Previous Creeper albums have dealt with religion, shame, belonging and grief.

Will is hesitant to get too in-depth about what ‘Sanguivore’ has in store for people but does say the record reflects that feeling of rebirth. “The metaphor with the vampire is kinda obvious.”

“This record has layers, and it sent us in a really weird direction,” he continues.

“The first song is nine minutes long, talks a lot about the main character’s sexuality and is absolutely fucking outrageous The conclusion to the record is a song called ‘Modern Death’, which is about dying and being happy with who you are.

This album corrects past mistakes and is very much a new lease of life for the band. We’re so excited about this one; it feels like there’s a real fever in the air,” he adds.

Despite the hype of debut album ‘Eternity, In Your Arms’ and the continued success of ‘Sex, Death & The Infinite Void’, Creeper weren’t worried about living up to what’s come before with ‘Sanguivore’. “You make these things for yourself, and you hope people like them. If you start making records to try and please other people, though, you’ll end up with something awful.”

“Creeper exists in its own little world,” he continues. “That’s never more evident at somewhere like Slam Dunk. We are strange theatre people, wandering around a festival full of people who fit into certain scenes a little easier.

We’re far too panto for a lot of people in that world. I’m not trying to say we’re reinventing the wheel by any means on this album, but we are still the weird kids at the table. If we were in The Breakfast Club, we’d be the kid with the dandruff,” he grins. “I don’t worry about it too much.”

“People look at Creeper and see the surface-level pantomime and assume the whole thing is one-dimensional, but we tell you it’s insincere from the offset,” Will says, pointing to the massive vampire on the album’s artwork. “We’re presenting this story as something that’s fantastical and otherworldly, but if you look past that and spend some time with it, you’ll probably see it’s far more sincere than you first thought,” he explains, a balm to the countless bands trying to constantly force sincerity down their audience’s throats.

“There is a deeper meaning behind what we’re trying to say, but it’s wrapped up in this wild story. As with all the records we’ve made, you come for the fantasy but stick around for the crisis in the middle. It’s a very emotional record,” says Will. “It’s the most dramatic thing we’ve done as a band, and it’s also the darkest. There’s campy gore, but it has heart behind it.” ■ Creeper’s album ‘Sanguivore’ is out 13th October.

Upset 11

EVERYTHING YOU NEED TO KNOW ABOUT THE NEW EP FROM...

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CIEL

RIOT!

Photo: Lizzie Clark-Nørgaard

Michelle Hindriks from Brighton upstarts CIEL lets us in on a few behind-the-scenes tit-bits about their grungy new EP, ‘Make It Better’. → Spur of the moment We purposely didn’t listen or overly worked on our demos prior to the recording of the EP, which made us take some brutal decisions whilst in the studio. Completely new vocal lines and lyrics for choruses were written in the moment, as well as guitar, bass and drum parts while tracking in the studio (there’s a lot of first takes!). We felt pressure, but we believe this way of working made us stay true to ourselves and go with the flow. This was fueled by our producer Steven Ansells’ belief that, most times, the first idea is the best idea. Doing this really brought the songs back to the core and made us write the most authentic music we could have done at this particular time of our journey. → We joined a next-level acting class to bond as a band Tim, Jorge and I went well out of our comfort zones as introverts when we joined an acting class to bond as a band on a deeper creative level, getting closer to our instincts. We had to jump, scream, pretend we walked over glass and do a lot of hugging with each other. We had to make sure to really feel empathy to whatever we were doing - and if we didn’t really mean a thing, we had to do it all over again until we did. I felt like this experience was quite spiritual and made us connect to our own bodies and really project a certain emotion in the moment.

It was a great way to unthink and reach the subconscious part of your brain that is all connected to creativity. → Studio routines During the recording of the EP, Michelle drank an average of at least 10 coffees a day, Jorge solely listened to Death Grips (still does to this day) and didn’t change clothes, and Tim had to pop in and out of sessions to go to his day job, building modular synthesisers.

→ A brutal murder of CIEL - how a love song turned dark When we showed our song So Scared to videographer Craig Murray, he immediately had an idea for the music video. So Scared essentially is a love song - the lyrics are about not being able to connect to someone and open up but really wanting to be able to do so and working on that aspect of yourself.

Craig put the song in a much, much darker context. In his video Jorge, Tim and I are statues, and actor/dancer Joss Carter plays the role of a sculptor who can’t connect with his piece of art and keeps trying to sculpt it, changing the statue endlessly. He, however, keeps being unhappy with his art, and the video ends in a brutal but static murder scene of CIEL’s statues. This was the second video we worked on together, and Craig is a true artist who lives for his art and comes up with the most crazy and unexpected ideas. We even had to cut the original ending as it turned out too grotesque, but hopefully, we’ll show it one day. We were also very lucky to work with Joss Carter, who is a super-talented dancer and actor. We filmed the video in his dance studio, which is in a big artist warehouse complex in North London. It was a very inspiring environment to be working in. → The concept for ‘Somebody’ came to life in the studio Some of the songs were still quite rough ideas when we sent them over to Steve.

We like to work like that. When we sent ‘Somebody’ to Steve, it was literally quite a slow dream pop song - none of us thought it was anything special, but Steve really picked up on it. In the studio, we kept speeding it up, and speeding it up, making everything A LOT more messy, adding wildly over-the-top drum fills and scruffy guitars - we didn’t want

it to sound perfect at all; it just needed to be fun and in the moment. The song reminded us of a house party, so we kept calling it “The House Party Song”. It was only after we had finished the whole recording of the song when I finalised the lyrics. I felt like I needed to write something “fun”, but I only kept coming out with these introspective lyrics, about needing to connect with other people, to be out in the world and to party after having experienced an extensive period of solitude. It took me a while to accept that this was what the song was gonna be about, but now I’ve fully embraced it, and I like it a lot! When winter was just coming to an end, this was a feeling that me, and a lot of people around me, were experiencing, so I think I needed an outlet for that. → House party in Michelle’s Living Room The video for ‘Somebody’, however, turned out to be a house party as it felt the right thing for the song. This one is also directed and shot by Craig Murray.

We filmed it in my living room which I completely emptied of all furniture - it was quite the task as all my housemates are artists and kind of hoarders. We dressed in different subcultures, built about six different sets in one day, and we had 20 extras coming over. It was ABSOLUTE chaos. All of the furniture was throughout the whole house, so there was no space anywhere, and all the extras arrived with bags full of extra clothes and make-up. There were people dressing up in every corner of every hallway. Everyone was so involved with helping to make this video. It was so good to see what an amazing group of friends we’ve gathered around ourselves during our time in Brighton - the making of this video really reminded us of that.

CIEL’s EP ‘Make It Better’ is out 7th July.

Upset 13

“I DID NOT REALISE HOW MUCH I MISSED THIS”

KIDS IN GLASS HOUSES are back, and they’ve a lot to celebrate.

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Words: Alexander Bradley. Photo: Bethan Miller.

→ IT’S SOMEHOW BEEN 15 years since Kids In Glass Houses released their debut album ‘Smart Casual’. With huge hits like ‘Easy Tiger’, ‘Saturday’ and ‘Give Me What I Want’, the Welshmen were a jewel in the crown of a burgeoning UK rock scene that brought You Me At Six, Deaf Havana, Fightstar and Enter Shikari along with it. In the years that followed, they released three more records before announcing their intention to break up in 2014. On Halloween, their final tour culminated in their hometown of Cardiff.

Nine years on from their farewell, the band returned for this year’s Slam Dunk to celebrate the anniversary of their breakout debut, as well as announce a vinyl reissue and a run of shows for this October. Between their two festival reunion shows, frontman Aled Phillips and bass player Andrew “Shay” Sheehy discuss revisiting ‘Smart Casual’, getting Kids In Glass Houses back together again and some unconventional plans for staying in shape ahead of their full UK tour.

WE SPLIT UP 9 YEARS AGO, AND EVEN AT THAT TIME, WE WERE GRINDING IT OUT”

ALED PHILLIPS

remixed it and remastered it.

Shay: It all came about quite naturally. We issued the ‘Smart Casual’ vinyl years ago, and we were seeing copies going online for hundreds of pounds, and we were like, “It doesn’t seem very fair. We can organise it, surely, to give these people a re-press?” And then, just as we were discussing that amongst ourselves, we gave the idea to our producer and friend Romesh, who did the original album, and he was like, “Well, funnily enough, I’ve been remixing the album in my spare time.” We were like, “Can we hear it?”

much stability that this is now just this hobby that we love that we get to do as a privilege. And we have all these other components that keep us solid.

The irony is that most bands are actually struggling more than ever to make ends meet, just as you’ve got it figured out.

Aled: It’s impossible. We split up 9 years ago, and even at that time, we were grinding it out. We were making about So, how was yesterday in Hatfield? £300 per month by the end of it.

Aled: Insane. Absolutely crazy.

Shay: And now, we don’t have to do Shay: We had high hopes for it, but it anything. Everything we do from this definitely surpassed all expectations we Listening back, either preparing for point on, as this band, we do because it’s these shows or listening to the new had for it. masters, are there elements you forgot cool for the audience or the fans. We are not having to put ourselves in positions existed?

You’ve got a full anniversary tour in October, having played this weekend. Aled: Joel [Fisher, guitarist] did not know just to keep the bank balance turning over. It’s a different proposition, and it’s there was piano on ‘Raise Hell’. I didn’t Do you wish you’d scheduled those know there were keyboards on songs like difficult in that sense. dates for sooner?

‘Pillow Talk’. There was so much. There Aled: I wish it was tomorrow.

Getting back together for the odd were loads of little vocals because we Shay: I would just love to continue on did so many harmonies. Harmonies were anniversary show has a way of touring right now. I’m so keen on this. I snowballing into new music. Do you a big thing in 2008, and we just spent did not realise how much I missed this and this environment, spending time with fucking hours doing all these harmonies, think there is a possibility of that so there’s those. Just textures. We spent happening with Kids In Glass Houses? my friends, going out, having a coffee a full month just fucking around on together.

Shay: Aled is a prolific songwriter, as is that album and doing little tiny bits you Aled: Nothing about music, just coffee Ian [Mahanty], our guitarist. You never completely forget are there because you stop writing songs. It goes down to the and hanging out! never play them live after it’s done. fact everything is on our own terms now, It’s probably easy to forget that so if we feel we want to put out some new Traditionally, bands would mark each music, then we may do, but at the minute, actually just hanging out together is a big part of touring when you haven’t decade of an album, but you’ve gone it’s cool. We have the vinyl reissue, we for the 15th anniversary to do this done it for so long. have these festival appearances, we have reissue and tour. So, why now?

Aled: Yeah, it’s such an integral part of got the October tour, and who knows Shay: In terms of numbers, convenience, being in a band. what we decide to do after that? It’s quite because it’s a round number, but, for us, Shay: Yeah, we went years where we exciting for us. it was about us feeling comfortable doing basically lived in each other’s pockets, it. It was about our personal journey and we didn’t do anything without Well, now you’ve got four months where we were comfortable doing the the other person knowing, and all of a band because everything in our personal between these shows and tour, what sudden, it was an abrupt end. It’s nice lives was in order. When you’re in a band are you going to do in that time? to have a really cool reason to get back full time, and you depend on it for money, Aled: No fucking idea! Tomorrow I’m together and spend time together. paying bills, that’s when we had hell with going to get a pizza, but after that, I’m fucked. ■ it. That’s why we eventually stopped Alongside the anniversary shows, you’ve also revisited ‘Smart Casual’ for doing it. But, in the time since then, we Kids In Glass Houses’ re-issue of all have our careers, our wives, and our a reissue.

‘Smart Casual’ is out 13th October. families, and I think everyone has so Aled: Romesh [Dodangoda] has Upset 15

TRACK Y X TRACK T

16 Upset

YONAKA WELCOME

TO MY HOUSE EP → Yonaka are back and

kickstarting their summer by not only popping up at a number of festivals both in the UK and in Europe, but releasing a new EP, too.

‘Welcome To My House’ sees vocalist Theresa Jarvis invite listeners into her world as she gets up close and personal with different times in her life.

Here, she runs us through the full release, from front to back.

W.T.M.H

This song is an insight into who I am, or who at least I think I am, talking about my faults and the coping mechanisms I’ve learnt to deal with in life as I’ve grown up. I paint myself in a way that, although it could feel negative, I always allow myself a way out, and I shine a light on my tenderness, stillness and love in the middle eight. I talk about how these feelings/emotions and experiences I have are all just fleeting moments, all just gusts that will come and go, and nothing is forever. This song was really cathartic for me when writing it. I feel like we have no control over the circumstances we are born into, but we have all the control over who and what we choose to be now.

realise how much this thing or persona was to you when it’s gone. I think it’s about taking the time to enjoy what’s in front of you and stop becoming the story of your past.

I DON’T CARE

This song is about being around people who are shallow and think that the world revolves around them.

And coming to terms with the fact that maybe these people aren’t your friends or people you want to associate yourself with. I feel like when you are young, you try to blend and morph into what people want you to be so you fit in, and when you grow a bit older, you realise you don’t have to do that, and you don’t care what they think. It’s about finding out who you are and not changing to meet people’s needs who you don’t really like anyway.

PANIC

This song is about me having a panic attack and what it feels like to have anxiety. When you’re having a panic attack, it’s really quite horrible; your whole body gets taken over and can feel like you are going to die, BUT I wanted the song to feel light and funny.

I wanted to find the humour in some of the states I get myself into. In the song, I’m having an argument with myself because that’s what it constantly feels B.T.T.Y.R.T This song is about living in the moment. like. It’s like 2 people have the reins in your brain, overanalysing everything When we aren’t consumed by our past and going in opposite directions. It’s or worrying about our future, that is upbeat, so it feels in a rush, but it’s fun. when we are truly living. I feel like so many moments have been missed from HANDS OFF MY not being fully present, and you only

MONEY

This song is an angry one. It’s about having people fuck with you too many times and being done with it. When you have been assertive and asked for things to be done, and they get overlooked. Standing up strong and saying this is what I want, and this is what I will get. I feel like my position as a woman was overlooked when asking for certain needs to be met, and this is a fuck you to them.

GIVE ME MY HALO

I felt stuck when I wrote this song like I was going nowhere like I had too much weight on my shoulders to fly.

I wondered why, why me? What did it take to feel at one with myself to be able to drink up life? Why did I not feel at peace with myself? Why did I feel invisible? Why was my mind torturing me? So this song is about me searching for an answer, me willingly say do what you need to do but have me come out the other side ok.

I WANT MORE

It’s about wanting more. I talk about how daily routines get so very boring and, how I’ve had a taste for what life could be more often, how I would drink to escape the monotony. It’s that wanting to get more out of life which is there to be had. It’s about enjoying yourself more and not taking life too seriously. Having more fun. ■ Yonaka’s new EP, ‘Welcome To My House,’ is out soon.

Upset 17

THE BEST NEW TALENT.

18 Upset

London-based electropunk duo SHELF LIVES have already whipped up a buzz at festivals, yet they’ve only just announced their first-ever headline show in the capital.

They’re coming up fast.

Words: Steven Loftin. Photo: Jennifer McCord.

Words: Steven Loftin. Photos: Jennifer McCord.

→ “JUST DO IT!” No, Shelf Lives haven’t signed a sponsorship with Nike. But, the Swoosh purveyors’ slogan is a good fit for the attitude-spitting two-piece. It’s also a phrase that landed in their lap back in 2021.

After getting together to create tunes for a television library (stock music to be used in shows etc.), the London-based pair found instead an instantaneous chemistry that they couldn’t resist. “It was exciting right from the start,” says vocalist Sabrina Di Giulio.

“We showed everyone that we knew because we were very excited about it.” What happened next has been a whirlwind of sound, support slots, and now a signing to Modern Sky Records.

While the initial tracks were, as Sabrina puts it, “a little PG-13”, the realisation of what they’d discovered warranted something a little more spicy, and a little more shouty. “As that happened, everyone wanted a piece of the action,” Sabrina enthuses. This is where the duo’s debut mini-album, ‘No Offence’, rocks up.

“That was what came out first,” guitarist and producer Johnny Hillyard says proudly. The Transatlantic pair (Sabrina hails from Canada, Johnny from Northampton) aren’t here to overthink. ‘No Offence’ is that initial crash, bang, wallop of all things lining up a physical reaction from their caustic chemistry. Hooking

up with producer Space (Black Futures), the burst of energy fizzes with Shelf Lives’ personality and style.

It is, as the pair excitedly describe it, “unfiltered, raw... just do it!”

They’re toting an electro-post-punk sound that kicks you in the teeth.

Not content with the sonic assault, Sabrina shouts the house down. It swaggers and goads, leaving no room for apologies. As for where that all comes from for the pair, Johnny gruffly says, “A deep, pitted anger inside.

A deep dark, grungy, gross anger…” before breaking and laughing. “No. I don’t really know.”

“We just thought her vocals would fit well for this brief, and then all of a sudden, this monster just comes out of that,” he grins.

“That’s when we knew there was something there.”

While Johnny has been a part of artistic endeavours previously, Shelf Lives is Sabrina’s first outing. For her, it’s been a good way to figure things out. “I was like, wow, I’ve never felt this liberation.”

Under Johnny’s tutelage, Sabrina discovered what input she could offer Shelf Lives. “I would try something, and he’d be like, ‘Yeah, that’s cool’. Like… is it?” she laughs.

“I don’t know! It was things like that. And the multitude of years I spent singing in a hairbrush while in my room by myself actually ended up being practice. So the lesson of the day is pick up the hairbrush! You never know

WE JUST SPEW THINGS OUT”

J O H N N Y H I L LYA R D what you’re preparing for.”

The balance between Johnny’s artistic experience and Sabrina’s lack thereof is the makeup of Shelf Lives’ basic DNA. But the pair keep a keen eye on the goings on of the world to fuse meaning within the rowdy sounds.

Johnny cites his interest in society and how “gross the consumerism side of society can be.” Particularly nodding towards our friends over the pond, “and how consumerist mentality they are and how they’ve done things.

Everything’s quite hyper over there. I feel like we’re in a hyper-Western society.”

While it takes some level of premeditation, in the form of keeping up with whatever’s going on, Shelf Lives’ approach is far more reflexive. “We just spew things out,” Johnny smirks.

“It’s just this primal feeling you get,” Sabrina adds. “Like something is telling you to unleash it or to be dramatic about it.”

There’s no denying that Shelf Lives have tapped into something a bit special.

Their raucous energy is as

addictive as it is rallying. But since forming just two years ago, things have ramped up for the pair. “As soon as you start kind of overthinking that, and you start thinking about why it’s happened, that’s when I think you start getting in trouble,” Sabrina warns. “That’s why an artist or band’s second or third album sometimes doesn’t click like the first one does. It’s because they start thinking about things that they weren’t thinking about when they made that first one.”

Ignoring opinions, Shelf Lives know the key to survival is staying true to themselves. “This might come across as a bit egotistical, but everyone has to realise why you’re there to begin with. It’s because you made a great body of work without any input. So as much as all of that means something, you can’t think about making everyone happy,” she affirms before resolutely hammering home Shelf Lives’ ultimate motto: “You have to stick to your guns.” ■ Upset 19

One of the most beloved weekends on the festival calendar, 2000trees returns this month with a line up stacked full of Upset faves. Over the next few pages, we’ll tell you everything you need to know, from what the bands want to see, to the new acts you can’t afford to miss.

THE Words: Alexander Bradley. Photos: Jennifer McCord

20 Upset

With a new album on the way and a slot at a festival that’s, by this point, essentially home from home, THE XCERTS couldn’t be more welcome at 2000trees. So long as they stop leaking the line-up.

Upset 21

HE VENN DIAGRAM OF PEOPLE WHO LOVE BOTH 2000TREES AND THE XCERTS IS ALMOST A COMPLETE CIRCLE. The festival also loves The Xcerts. The band reciprocates.

Everybody wins when the pop-rock trio adorn the line-up. And, like with all loving relationships, there are bumps in the road sometimes too. Someone gets a bit too excited and prematurely spills the beans on the final headliner for this year’s line-up and causes a meltdown on social media.

“I was given a loaded gun, and I pulled the trigger. What the fuck do you expect from a frontman?” Murray Macleod defends, laughing. “I was given the green light by someone who works for us. I didn’t actually look at the poster. I didn’t check if Trees had officially posted it, which, of course, being in a band for this long, of course, I should have done. I did wonder why we hadn’t received any tags with that poster and think, ‘That’s weird nobody has posted about it’.”

Continuing to plead his case, he describes the perfect storm of fuck ups that led to the leaked line-up. “My parents were down, so I posted it very quickly on Instagram stories and went for a lovely lunch for two hours and didn’t look at my phone. Then I came out of lunch and looked at my phone and felt like we had been cancelled. That’s how I imagine that feels but obviously way worse. It was a very simple human error. I thought it was funny, and then I really cranked out and had the cancellation feeling once it started to spread on Twitter. Then I started to laugh about it because no one got hurt.”

And the festival, thankfully, forgave them pretty quickly after a few panicked messages. “We still love you,” the organisers messaged afterwards. “That shows the enduring love of 2000trees. Even when we fuck up, they’re there for us,” Jordan Smith, the band’s bassist, adds.

Despite some wry jokes about how they expect to plummet down the line-up in the future, the whole affair fortified the

WE’VE NEVER ONCE WALKED OFF STAGE AT 2000TREES NOT THINKING WE JUST HAD A GREAT TIME” M U R R AY M AC L E O D

22 Upset

relationship between the trio and Trees.

Sure, there are other festivals that The Xcerts have played. They had a “terrifying and amazing”, in Jordan’s words, time opening the Main Stage at Reading & Leeds as a last-minute stand-in that was a huge bucket list moment for them as a band. But, it’s in the rolling hills of the Cotswolds where they get to live out their rock star fantasies.

“It’s so strange, the time we first played it, up and down the country and especially in England, we weren’t playing to big crowds,” Murray recalls.

“That festival, we drew a big crowd from the off, and it was really confusing to us, and we thought it was a fluke. And then it continued to happen as Trees got bigger and bigger and bigger.”

In the years that have followed, The Xcerts have played on pretty much every stage 2000trees has had.

Surrounded by actual trees, deep in the forest and on a tiny stage, they’ve played stripped acoustic sets and embedded themselves into the history of the festival when playing ‘Aberdeen 1987’ unplugged in the middle of the crowd.

Murray reminisces, “It’s such a simple little trick, and I don’t know if anyone can hear it past a certain point because it’s basically 360, and you’re engulfed by people.

“Apparently, I was the first person to do it, which is a nice touch because a few people have done it after. But I think I pinched it from watching a Frightened Rabbit video of Scott Hutchinson doing it.

“The first time I did it, it felt really special to do because it wasn’t anything predetermined, just unplugged the guitar and ‘I’m going to do this, this will be fun’. It was a nice, off-the-cuff piece of magic.”

Less magical, was Murray’s appearance with Twin Atlantic when the fellow Scottish friends headlined in 2018. “I was out of my mind. I should

not have been on that stage,” he laughs.

The less said about that, the better, but each appearance by The Xcerts at the festival seems intrinsically linked with the major milestones the band have passed in their careers.

“We’ve had quite a few defining moments as a band there, and that’s probably why the expectations are so high for it to be a good show,” drummer Tom Heron admits.

“I remember when we had just released ‘Feels Like Falling In Love’ and it had been out a couple of days and had one radio play or something like that, and then we played The Cave, and we played it last, and everyone was singing along. It was so bizarre but such an amazing moment.”

It is a strange synergy between the two where it feels like The Xcerts and 2000trees are inextricably connected.

The festival keeps on bringing out the best in the band, while The Xcerts’ performance is usually a standout moment of the weekend too.

Murray explains, “For the three of us, we have exceptionally high expectations for ourselves as performers, so usually our bickering happens if I hit two bum notes and I’m beating myself up - we’ve always been like this, we’ve always strived for our own version of perfection - but we’ve never once walked off stage at 2000trees not thinking we just had a great time.”

And Jordan is quick to back him up, adding, “It speaks to the magic of that festival where we are exempt from all those usual anxieties and things you’d be stressed about at a normal festival where you’d have a bit more work to do to win over a crowd whereas, with Trees, these are our people.”

So when they head to Upcote Farm this summer, there will be no better gauge for the vibrant new sound of The Xcerts and their upcoming album, ‘Learning Upset 23

How To Live And Let Go’.

‘GIMME’ bursts in complete, scuzzy technicolour and heaps of attitude.

Murray likens it to ‘Hollaback Girl’ with punk guitars. The video, despite its grungy grain, dazzles with energy and Jordan’s shock of luminous green hair bopping up and down. This was the introduction to The Xcerts like you’ve never seen them before.

“There was no other way to do it. We couldn’t drip feed this new sound to people; you have to just kick the door off and say, ‘This is what we are doing now’,” Jordan reasons. With the singles that have followed, the electro-pop style of ‘Jealousy’ and ‘Ache’ (for which they finally got long longtime friend Sam Carter to feature), they have

24 Upset

IT TOOK FIVE ALBUMS FOR US TO DISCOVER OUR OWN IDENTITY”

J O R DA N S M I T H

shaped a perception of ‘How To Live And Let Go’. Those first neon-coloured syrupy spoonfuls of this album aren’t representative of the complete article, though. “It is all over the shop,” Murray boasts.

It’s a strikingly different approach from the trio, even more so when you hold it up to its predecessor. It’s a change born out of necessity, though.

“We knew we wanted to do something different from ‘Hold Onto

Your Heart’ again,” Murray starts.

“We felt like we could take the sound somewhere else. We released an EP in 2019 called ‘Wild Heart Dreaming’, and I felt like I was having a massive identity crisis where I foresaw our band going down a very beige route, following in the footsteps of - no shade on these bands - a band like Snow Patrol. What a lot of bands are supposed to do as you get older is conform, mellow out and play it kind of safe.

“We’re three total freaks that have never allowed our flag to fly as freaks.

It’s true. We are freaks and geeks, really. When we clocked this sound that we wanted to make, it was like we were going all in to show our true character.

“It feels like this is one of one, and

only the three of us could have made this record. We spent a year and a half talking about our favourite Tom Petty records, which is cool, but this is our band, and we need to take back control. We are always looking up at the giants and being like, ‘Let’s be like them and wear this because they do’, and it’s like, ‘No, let’s just do us’.”

Jordan enthusiastically agrees, adding, “It took five albums for us to realise that and discover our own identity, and two years of sitting around doing nothing probably helped that for us to look inward and go, ‘Oh! This is us?! We’re just fucking weirdos!’” he laughs.

‘Learning How To Live And Let Go’ ends up being the first completely

authentic Xcerts album. They’re still a guitar band at their core, but bubbly synths and gospel choirs aren’t too far out of reach either. The difference this time around is they’ve taken “the inspiration, not the influence”.

It’s an important distinction to make.

No longer will an admiration for Tom Petty mean having the same haircut, clothes and sound as the late ‘Free Fallin’ singer. Instead, all their many influences will pass through them like reeds in a flowing stream. So sure, the smorgasbord of tastes on this album range from Blink to My Bloody Valentine, Taking Back Sunday to Tom Waits, Taylor Swift to Four Tet, The Cure to Charli XCX, but the accumulation of all of those comes out

Upset 25

THE XCERTS’ 2000TREES PICKS

Murray: I’d urge everyone to go and check out ARXX. They’re just such an interesting dynamic, the two of them. They’re so unmatched. There is such a connection between the two of them that they don’t really give a shit about the outside world in a really great way. They’re so in tune with one another, and it’s really infectious and great to see. They just write incredible songs.

Jordan: Their hooks are so incredible. So infectious.

Murray: Zak Pinchin - who is our video director. He is doing all the videos for this campaign. His band, Modern Error, is playing. They’re sick. Zak is so talented. Dinosaur Pile-Up are just the best. Rival Schools, we’ve never seen them, but they’re one after us, so that’s going to be incredible. Hundred Reasons, of course. I would say Hell Is For Heroes, but they’re on at the same time as us, so fuck them!

26 Upset

as the purest form of The Xcerts.

Even writing the album, they adopted David Bowie’s ‘découpage’ technique, where they clipped together bits of this and that to make songs. “We are students of the school of Bowie. We are creators. The unknown is exciting to us,” Murray says.

Taking that excitement for the unknown into the studio, the plan was to feel “uncomfortable”, according to the singer. The objective was to purposefully reject what would be expected of the band. But, at the same time, it seems like it was the most fun the band have had making an album. Jordan’s recollection is, “I haven’t laughed so much making a record before. You usually don’t laugh; it’s very serious.

‘We got nine days, so let’s just do this’. This was the exact opposite, and we just laughed the whole way through this. It was so fun.”

In many ways, the “fun” of making the album might have been relative to the lockdowns taking place at the time. With no foreseeable route back for live music and not knowing if or when this music would be released, the pressure was off the band completely.

“We were like, ‘Well, if this is our secret swan-song of a record, then we are going all in’,” Murray reveals.

Steve Ansell, who produced the record (also of Blood Red Shoes fame), helped the band push to find out how far they could go. Murray remembers the producer’s mantra being, “I want people to hate this”, and “You guys are far too loved. You need people to hate you.”

It’s a bold approach, but it’s one that paid off. For those segueing from ‘Hold Onto Your Heart’ into this new album blindly, there might just be some strong, visceral reactions as ‘GIMME’ explodes in their eardrums.

Despite that, the fundamentals of The Xcerts

WE HAVE EXCEPTIONALLY HIGH EXPECTATIONS FOR OURSELVES AS PERFORMERS” M U R R AY M AC L E O D

are still at play. There is still a lot of love in ‘Learning How To Live And Let Go’.

Originally designed as something of a concept record taking place over one night, the album was varying vignettes of a city from 9pm in ‘GIMME’ right through to the sobering up of ‘It Ain’t Easy’ at 5am. And in between those hours, there is lust, love, heartbreak and hate in all different directions.

‘Drag Me Up’ is a song about depression and selfworth in a toxic relationship, sitting back to back with ‘Everything I Can’t Live Without’, which Murray describes as “the most earnest song we’ve ever written”. Jordan follows up with, “Yeah, that level of vulnerability is a lot.”

“It’s scary to do, and it’s really hard. I commend any artist that can speak so vulnerably in song, and it’s just something we never fully felt comfortable with.

It’s maybe the cutest song we’ve ever written. It is a cute song. It’s the loving embrace of a little tune,” Murray admits.

And from that point, in strolls the biggest pop number The Xcerts have ever dared to make.

‘Lovesick’ is “arguably the best song we have written in terms of pop songwriting,” according to the singer.

With gospel singers and shimmery guitar lines, it’s a blinding pop song destined to become a firm

favourite in a live setting.

Placed in the middle, the song becomes the beating heart of this album, and a symbol of the success of what boldly going in search of their own limitations can produce. It’s hard to imagine the album without it… but it nearly didn’t make the cut.

“That song presented a lot of problems to the point it was demoed in 2020, and we didn’t finish it until the day before the record had to get handed in,” Murray acknowledges. Intended to be this “big, soulful, summery, anti-anthem”, the instrumentation and production just couldn’t marry up. After eventually tearing the song apart and starting again, ‘Lovesick’ came together on the wire.

The plan wasn’t to outdo and write a song bigger than ‘Feels Like Falling In Love’, but they’ve somehow managed it. It wouldn’t be the same album without it. “’Lovesick’ is really funny.

It’s got some really funny lyrics in there. The whole record, to me, is about these mad juxtapositions; everything within the tracklisting is placed in order for a reason; we really took our time with it. It’s supposed to be a bit jarring until you get to ‘Our Friends Forever’, where the realisation of inner peace [comes in]. It is meant to mellow out with ‘Our Friends’. That and ‘It Ain’t Easy’ are a big sigh of relief, really,” Murray explains.

‘Learning How To Live And Let Go’ becomes an album with many threads tying it together. It’s unpredictable, but that’s not a bad thing. It’s a real thing.

“Albums with one narrator can be quite selfish at times, and we’ve been guilty,” Murray admits, but they’ve corrected that this time around.

The album manages to be vibrant and joyous at times, but also he has also put into words “the gnarliest times” he’s experienced too. On the edge of those two extremes, The Xcerts have flourished in making this album.

As Jordan puts it, “It’s about redemption and peace, and the schizophrenic nature of the record speaks to what your head can feel like sometimes when you’re going through stuff. Anxiety can feel so erratic and all over the shop, and the goal is to come to this place of understanding in yourself and loving yourself.”

‘Learning How To Live And Let Go’ spends a long time getting to its destination of actually being in a place to “let go”, but the journey, the learning and the living, is just as fun. And if you’re keen to learn, then the first lesson is Friday evening on the Axiom Stage at 2000trees. See you there.

■ 2000trees takes place from 5th-8th July. The Xcerts’ album ‘Learning How To Live and Let Go’ is out 18th August.

Upset 27

“Kid Kapichi - We have been in love with this band since hearing their first album.

They have a huge sound, blending almost hip-hop-style beats with punk energy and catchy choruses. We caught them live when they came to Glasgow on their last tour, and they blew the roof off the venue.”

DEAD PONY

“Last year, Ithaca released such a ferocious album with ‘They Fear Us’; I’m so excited to hear material from this album played live. If it’s anything like the previous times I’ve seen them, their show will be absolutely explosive at 2000trees, and I wanna be there front and centre to witness the carnage!”

SERENA CHERRY, SVALBARD

“Hundred Reasons were the second gig I ever went to! I remember being at school and me and my friend who were going together that night, kept bumping into each other in the corridors and saying to each other, ‘We’ve got one hundred reasons to be happy today’ (yes, we were nerds, ha!). Can’t wait, I will definitely be smushing my way to the front row for their set!”

WITCH FEVER’S 2000TREES PICKS

By Alex Thompson (bass)

THURSDAY

On Thursday, I’ll be seeing Bat Sabbath and Graphic Nature. We toured with Cancer Bats and Graphic Nature last year, so it will be fun to see everyone together on the same day again! Cancer Bats always have such a high-energy show. I’m excited to see them as Bat Sabbath. Graphic Nature have just released their debut and are killing it!

FRIDAY

On Friday I’m gonna see Crows and Heriot. Crows are the perfect mix of post-punk and sleazy guitar, and I love both of their albums. Heriot are one of my favourite up-and-coming metal bands and some of the most talented musicians I know. Deb and I have been friends since we were teenagers, and I’m always filled with pride when I see her play!

SATURDAY

On Saturday, my picks are Loathe and Enola Gay. Loathe’s last album has some of the heaviest riffs I’ve ever heard, and I love how they contrast it with more shoegazey guitar parts. Lastly, Enola Gay are a new band from Belfast who are absolutely going to blow up.

They play super heavy punk that’s inspired by dance artists like The Prodigy.

MIKE EVANS, PROFILER

“Rival Schools - we’ve all been big fans for years and have never gotten to see them, so to be able to play a festival the same day as them is really exciting for us. Walter Schreifels’ impact over the years can’t be understated, and is someone we all highly respect. Our collective influences and tastes are all over the place, but Rival 28 Upset

JOHNNY MARRIOTT, PET NEEDS

“One band? This gets harder every year at Trees, cos there are so many of my close friends on these line-ups that they’re starting to resemble the names on the door at one of my birthday parties... so if I had to choose one, it would probably be Gaffa Tape Sandy, cos I really dig them, but I’ve never met them or seen them play. Kim was in one of my music videos a couple years back, and at that point, I’d never heard them, so I checked them out, and they’re awesome. Really thick grungy guitars with these singalong melodies over the top - perfect! Plus, it seems like they go off live. I CAN’T WAIT!!!”

JAMIE LENMAN

HANNAH ROSE PLATT

“We are all massive fans of Paledusk Japan as these guys are pushing the boundaries of nu-metal core. Their experimental songwriting is cutting edge, and there is no one else around that comes close to their unique vibe.”

“I can’t wait to see Kid Kapichi live. We played together five years ago before they exploded, and I’ve been desperate to see them again!

I love the way they can mix mechanical, driving beats with incredible tones, great singalong choruses and important lyrics. Love that band!”

Schools is definitely a band we all agree on and really enjoy.”

HEART ATTACK MAN

“One band we can’t wait to see this year at 2000trees is Holding Absence! We just caught their set over here in the US when they supported The Plot In You, and they were incredible in a small club setting; We can’t wait to experience them in their home country at a larger outdoor festival. We’re also

excited to see Bullet For My Valentine - they were one of the first heavy bands I got into, and it really opened a gateway into the metalcore/ hardcore scene for me.”

TELLTALE

“The whole line-up is crazy good! But Bad Nerves are top of my list. They are just about the sickest band doing it right now and their live set reeks of UK festival season in the best possible way. ‘Can’t Be Mine’ is truly a song for the ages.”

LEO DYKE, REMINDERS

“Everyone’s going to say American Football, which is going to be so, so great, but I’m probably most excited to see THICK - ever since I discovered them, I’ve known they’re just one of those bands where the live set is going to be bonkers and the crowd is just going to go off.

It’s impossible to stand still listening to them.”

CALLUM, TOODLES & THE HECTIC PITY

“We’re so gassed to see Joyce Manor at Trees. We all love that band so much, their energy is incredible, and you’ll catch all four of us in the pit or surfing over your heads during tunes like ‘Catalina Fight Song’ and ‘Falling In Love Again’.”

JACK H, CARSICK

“De Staat are the peak of my picks, for sure! First piquing

B

WHO DO THE BANDS WANT TO SEE AT 2000TREES? the interest of my sweaty, sun-stricken, hungover ass at Trees 2017 (I think). Honestly, at first, I was kind of put off by the enigmatic energy in front of me but was swiftly swept up by their charismatic, almost comedically delivered (absolute) bangers. They have a way of winning any crowd over and have become my go-to for letting loose and dancing like a total twat.

Don’t miss out; you need this in your life, trust me.”

ANYA PULVER, EXIT CHILD

“I am buzzing to see Soft Play, with their new name rebrand - I’ve got a good feeling their set is going to be full of all new unreleased bangers!

Super excited for Witch Fever; they always put on an amazing show with such a strong message.

I am also excited for Delilah Bon and Cody Frost - it was great meeting them at Heavy Music Awards. I’ve never seen either of them live, but I adore both of their music; I can just tell their sets are going to be

amazing!

One thing I love about 2000trees is discovering new music. I am definitely going to be checking out some bands I haven’t heard of yet!”

BEX

“There are so many good ones! We’re really excited to

see Sprints. The first time we ever heard ‘Little Fix’ we were completely hooked; it’s the kind of song that makes you want to speed down the highway. The lyrics and content really resonate with us and our experience as women in music. Sprints’ music is so dynamic and exciting we can’t wait to see them live and hopefully become BFFs.”

can have some fun together around the festival.”

THE OOZES

THICK

“There’s obviously loads of contenders, but I think I’m most excited to see Zulu for the first time on Saturday.

Such a sick band, aggressive, nuanced and drawing on a real expanse of styles. Their latest record is fuuuucking wicked, and I can’t wait to see them do it live.”

“We’re super excited to see Gurriers, a really great Irish post-punk band who are playing on Friday. Tombo saw them on their tour last month and loved the show but we couldn’t get into the room to see them at The Great Escape! They’re a lovely bunch too, so hopefully we

“Bullet For My Valentine made some influence on me as a kid. I remember sitting by myself in the schoolyard, blasting ‘The Poison’ on my mp3 player when it first came out in 2005; perhaps just so I didn’t have to speak to anybody. The estrangement

FFIN COLLEY, DELAIRE THE LIAR

Upset 29

I don’t cry enough in my dayto-day life. Catch me playing some sad air trumpet and sobbing into my pint.”

DOM MOSS, ITHACA

BRUTUS’ 2000TREES PICKS AND SO I WATCHED YOU FROM AFAR Stefanie: One of my favourite instrumental bands is so angelic and catchy that you forget about the lack of vocals. One of the best shows I ever saw was in 2015 at Dour Festival in Belgium when they played.

AMERICAN FOOTBALL Stijn: This band made a classic Midwest emo record with their self-titled debut album. I used to listen to it a lot when I was 16, and it even inspired me to check out Cap’n Jazz and Modest Mouse. Good stuff!

SVALBARD Peter: In 2020, we had planned to tour the UK with Svalbard, but the pandemic prevented it from happening. Since then, we have seen the band release great material, and we are eagerly anticipating seeing them perform live. Their music that entangled me while being surrounded by the unconscious, the pain and anger I felt at that time, it was as if BFMV was speaking to and through me. Not only through their lyrics and merciless hooks but also through their distinctive guitar licks cutting like razor blades, and a voice unveiling this impending doom. It’s pure sex.”

MIMI BARKS

“I’m really looking forward to seeing Heriot, I’ve never seen them live, but on record, they’re like brutal 30 Upset

“For me it’s American Football, I’ve loved everything they’ve put out since LP1 and I’ve only had the chance to see them once (at Arctangent 2016) so I’m very very excited to see them again!”

ERHAN ALMAN, HERIOT

“Brutus. Heavy, ethereal, and supremely deserving of a loud sound system, I’ve always wanted to experience the dynamics of their live set first hand, and I absolutely cannot wait to experience that very thing at 2000trees this year!”

is full of energy and features wonderful melodies and tunes!

JACK HALE, HAUNT THE WOODS

THE JOY FORMIDABLE Stefanie: I appreciate the open arrangements of this band and the unique voice of the vocalist, which is unforgettable after hearing just one sentence. Although I only know their 2011 album, I am curious about their live performance. It’s also exciting that they are part of the 2000 Trees lineup, which demonstrates the diversity of the festival.

“And So I Watch You From Afar. One of the most cohesive groups I’ve ever seen perform and excellent instrumentalists. Always maintaining an exciting energy over a broad emotional range - I’d never miss a chance to see them play live.”

THE BRONX Peter: I’m so happy The Bronx is playing!

They were a huge influence on my personal playing with their high-energy performances and catchy, aggressive music. Their passionate and intense live shows are amazing, with a mix of all the things I like.

space horror metal; it’s very cinematic. I love the vocals; they move between an Uruk-hai battle cry and velociraptors hunting, right up my street.”

STEVEN BATTELLE, LOSTALONE

“In the early 2000s, The Hurt Process were one of the best live bands on the UK circuit, and it’s so great to see them back; they will definitely tear 2000trees a new one. Not only will it be great to hear the old classics, their new single ‘Hand Me Downs’ is an absolute ripper. Can’t wait!”

JAMES MONTEITH, CAGE FIGHT

“The band that I’m most excited to see is American Football, because, apparently,

PHOENIX ELLESCHILD, HAUNT THE WOODS

“Paledusk are my most anticipated band on earth right now, so definitely those guys! The chaotic metalcore band from Japan have just become label-mates with us over at Sharptone Records, but I’ve been an avid fan of them for years now. If you are going to watch any band this weekend, I strongly urge you to watch them.”

LUCAS WOODLAND, HOLDING ABSENCE

“I’m super excited to finally see American Football live.

After hearing LP1 in my teens, it really changed how I wrote songs. Hearing instruments I’d never thought of hearing in that genre pool, being blended so effortlessly with alternate tunings and intricate guitar lines, shaped my writing style to what it is today and really lends itself to some of the Casey songs we have in our earlier records. Their live set will undoubtedly be brilliant and will be perfect festival music for the Saturday night!”

LIAM TORRANCE, CASEY

“We can’t wait to watch BFMV on the Friday! We’ve been huge fans since their early albums, and they were a huge influence when we were first getting into bands and playing music. We even still riff Waking The Demon in soundcheck!”

GEORGE HUNT, AS EVERYTHING UNFOLDS

“You know Bob Vylan is going to turn up and bring it. I heard the tent couldn’t even handle him last year.”

LAURIE VINCENT, SOFT PLAY

“We’re all proper excited to see Lambrini girls as their new EP slaps hard, and we know live they slap even harder so we’re excited to get in the mosh pit with these lasses and cause some chaos!”

DREAM STATE’S 2000TREES PICKS

By Aled Evans (guitar)

WEDNESDAY

Delaire The Liar I saw these guys for the first time at Lume Fest earlier this year, and I thought they were great, so I will definitely be catching them again at Trees.

Press To Meco Their final ever show. It’s sad to see such a great band call it quits, so I will absolutely be watching them for one last time.

Holding Absence You can’t miss an intimate Holding Absence show in the forest before they tear up the main stage later on in the festival!

Bat Sabbath Who doesn’t want to see Cancer Bats cover some classic Black Sabbath songs?!

Soft Play I used to love these guys years ago before they seemingly disappeared, so I’m really excited to see them back and headline the main stage!

see them tear up The Cave.

SATURDAY

Saturday is my favourite day by far, and I’m not being biased because we’re playing.

Modern Error I love their sound and use of electronica, big Nine Inch Nail vibes.

Electric Six I’ve wanted to FRIDAY see this band for years, so Love Is Noise Another great I’m buzzing that I finally get new and upcoming band, to see them. opening up the main stage!

Holding Absence They’re Definitely check them out absolutely killing it at the if you like heavy ambience moment, taking over the stuff! world and putting Wales on Paledusk I recently the map. discovered these guys on Dream State Come check YouTube, and I’ve never us out, check out the new THURSDAY heard anything like it before. line-up, (maybe some Skindred I’ve seen these It’s crazy, like it hurts my new music), you won’t be guys so many times, and head. There’s so much going disappointed! they truly know how to work on. They’re from Japan, and Casey It’s great to see the a festival crowd. Even if it sounds like they couldn’t guys are back together, so you don’t know any of their make up their mind on once our set finishes, I’ll be music, go watch because what genre to play, so they straight over to watch them! they’ll put on a hell of a show. decided to just mix them all Holding Absence, Dream Graphic Nature Their debut up. Just go check out their State, then Casey to finish album came out recently, and song ‘Black Ice’, and you’ll off the Welsh trilogy, haha. it’s fantastic. If you like really know what I mean. Really Loathe Another band that heavy and groovy music, curious to see how they pull are taking over right now. I then go watch them! off this sound live. haven’t seen them live since Lake Malice A great new Cancer Bats ‘Hail Destroyer’ they released their latest upcoming band mixing a was my jam when it came out album, so I can’t wait for years ago, so I will definitely them to tear the tent down broad range of genres from be giving them a watch to heavy to EDM. with their aggressive music.

LOOSE ARTICLES

“I would love to see The Joy Formidable at 2000trees!

They always stuck out to me as one of the best and most interesting alternative indie bands of the early 2010s. I can still remember buying their debut album and just being blown away by the opening track ‘The Everchanging Spectrum of a Lie’ and by absolutely huge songs like ‘Whirring’ and ‘I Don’t Want To See You Like This’. A very underrated band.”

DEAF HAVANA

Upset 31

Y

MILITAR YOU NEED TO SEE...

After a whirlwind few years, Los Angeles’ MILITARIE GUN are landing proper with their debut album.

Words: Rob Mair. Photos: Jennifer McCord

32 Upset

YOU NEED TO SEE...

Festivals would be boring without finding your new favourite band. If you’re heading to 2000trees, here are some you cannot afford to miss.

RIE Upset 33

→ “Hardcore, for me, should be about vulnerability.

Vulnerability and anger. It shouldn’t be about posturing,” considers Militarie Gun’s Ian Shelton as we discuss the Californian group’s excellent debut album proper, ‘Life Under the Gun’.

“The big thing for me was being 15 years old and being able to jump on people’s heads while screaming ‘I’ve got problems, I’m a fucked-up kid’ while watching Ceremony. As plain as it is, I want to chase that with Militarie Gun.” Hardcore means a lot of things to a lot of people, but there’s no question that sparks fly when anger and vulnerability collide.

Touché Amoré have been one of hardcore’s most forwardthinking, open and cathartic acts, with vocalist Jeremy Bolm cataloguing his grief on the astonishingly personal ‘Stage Four’.

There’s little posturing on their records, just someone making sense of their feelings and the world around them.

Equally, what Touché Amoré does so well – and this is matched

by Militarie Gun – is finding that fine line between being sincere and worthy (or over-earnest). No one wants to listen to a vocalist crying woe-is-me bullshit over 10 tracks of bludgeoning hardcore but instead wants to be guided towards empathy and reflection.

‘Life Under the Gun’ does this beautifully – although it’s been a journey for Ian to get to that point.

“Vulnerability isn’t the most obvious trait within hardcore,” considers Ian. “But when you think about bands like Touché, they’re drawing from broader places. Isaac Brock from Modest Mouse is probably one of the most influential musicians to me, and there’s such vulnerability and poetry in everything that happens there.

“So, for me, it was always about taking that earnestness… I’m so embarrassed of my high school bands because they were so earnest and vulnerable. I’d be talking about things, and now I’m like, ‘God, I really thought that was a good thing to talk about in the song?’ But it was sincere, and that’s what was important about it.”

For Militarie Gun, this idea of vulnerability and anger has manifested itself in the album’s central concept. Ian’s upbringing, which included living with parents struggling for sobriety, has been well-documented, but instead of delving into the whats,

I REALLY WANTED TO WRITE SOMETHING THAT HAD SOME EMOTIONAL WEIGHT”

I A N S H E LTO N 34 Upset

whys and hows, it’s a much more deconstructed take on ideas of abuse, empathy and honesty.

“The broad theme is that we grow up, and we’ll all be abused to some extent. And, because of that, you will then grow up to eventually abuse someone else, and then you witness the chickens coming home to roost on your actions.

So that cycle was something that I really wanted to discuss with the record.

“Another part of that is the way your feelings can change over time and the way something that can feel so true to you one day, you can be completely over the next.

“I just wanted to talk more honestly about how I think

people operate in the world… I think, coming from a moment where there’s such a lack of empathy, I feel like there are so few people who look inward when they watch others taking accountability for their own actions. I have no interest in pointing the finger at somebody else, so I wanted to talk about myself in those relationships.”

Ian suggests that the themes behind the record won’t necessarily be evident to the listener but can be considered as a whole, starting from a place of a lack of self-awareness before zooming out to view the broader picture as the album progresses. The fundamental question at the heart of the record being, ‘Can I move on as well?’

One such example of the macro and the micro can be found in the breezy indiepunk gem of ‘Never Fucked Up Once’. It’s a song about regret and is a world away from Militarie Gun’s trademark off-kilter hardcore – which, too, is a theme of the record as the band drifts into indie-punk territory.

This sonic evolution is perhaps no surprise considering the group frequently cites legendary oddballs Guided By Voices as an influence – or the nods to indie heroes Modest Mouse – but in the case of ‘Never Fucked Up Once’, where the intention was to write a slacker pop song, the result is the album’s heartbeat. While there was unquestionably a fear about switching things up so much, the results have landed perfectly.

Unsurprisingly, given it is so far removed from their previous output, ‘Never Fucked Up Again’ has been a nearconstant discussion points in interviews – seemingly to Ian’s delight. Like ‘Very High’ – the album’s other pop high watermark – it’s also a microcosm of everything that makes ‘Life Under the Gun’ so special.

“I really wanted to write something that had some emotional weight. We’re coming from a moment in culture where doing wrong or doing wrong to others – things you’re probably not proud of yourself – become your defining trait in life. So, it’s talking to someone who has been more or less ousted from the world they desire to live in.

“I grew up around really flawed people, so that mindset never made much sense to me. That idea of resentment is like drinking poison – like, why show unkindness towards the flawed people in the world?

I’m much more on the path of forgiveness than resentment, so I wanted to write about it from an emotional standpoint.”

While lyrically and thematically, this will be familiar ground for long-time fans of

Militarie Gun, musically and sonically, ‘Life Under the Gun’ is something of a departure, with elements of pop and indie washing over the group’s abrasive sound. Much like the tension between anger and vulnerability, this push and pull between melodicism and discordance has been central to hardcore’s evolution over the past three decades.

Yet it hasn’t always played out well for hardcore bands.

Perhaps even more so than punk, it’s a scene renowned for pushing back on bands deemed to have ‘gone soft’. Of course, times have changed, and modern audiences are much less likely to cry ‘sellout’ when a band writes poppier songs. Nevertheless, Ian’s focused on driving the band forward and finding a space for them to exist in today’s burgeoning hardcore scene.

“I think, today, the scene is generally more supportive,” he considers. “I’m sure these conversations are still going on in places like Reddit, but I don’t go on there. I think people are hungrier for catchier music. Even older people that might be stricter about genre… like, look at Rival Schools; they’ve paved the way for these melodic changes within hardcore.

“Ultimately, the only thing I care about is whether or not I’m proud of the record we made. If we made a record that I felt wasn’t genuine or was chasing a trend and saw someone ragging on it, that would bother me because we wouldn’t have been sincere.

With this, people can say what they want; it won’t change how I feel about it.”

Fortunately, Militarie Gun have dropped a record that puts them firmly at the centre of the discourse around modern hardcore.

Angry, vulnerable, sincere and earnest, it covers all the bases Ian set out to hit, making it a touchstone for the genre and a lightning rod for the exploding scene. ■ Militarie Gun’s album ‘Life Under The Gun’ is out 23rd June.

Upset 35

festivals compared to your own shows?

Sometimes! Especially if you’re playing later in the night and people want to party, it feels like you have to play more upbeat songs to keep everyone excited.

What are the key elements of a good festival set, do you think?

High energy and connection with the audience.

Who are you looking forward to catching up with or checking out at 2000trees this year?

Sprints and Crows!

One of the most fun new bands around, PRIMA QUEEN are heading to 2000trees having just released their debut EP, ‘Not The Baby’. It’s a must-listen, and they’re a must-see.

Hello Prima Queen! How’s it going? What are you up to today?

We’re doing well, just eating a fry up at the Holiday Inn and heading off to our next show on tour!

2000trees is a festival with its own strong sense of community - have you been before, either playing or as a fan?

We’ve never been, but we’ve heard great things and are excited to go!

What was the first festival you went to as a fan? What was it like? Who did you see?

Kristin: Austin City Limits! It always has an amazing line-up, it’s a city festival, but I love Austin, so it was super special - I saw Haim.

Louise: My dad took me to Camp Bestival when I was 10 years old, and I remember being blown away by it. I saw Laura Marling and PJ Harvey and remember thinking that I wanted to do what they were doing.

What’s your favourite thing about playing music festivals? How does it compare to a normal gig?

People are a bit more looseygoosey!

If you could book any 3 bands to headline three nights of a festival, who are you taking?

Taylor Swift, Shania Twain and Kate Bush.

2000trees is doing a lot of work on being a sustainable festival. Is that something that’s important to you when playing an event?

Definitely! There’s so much waste involved in festivals and events from all the plastic water bottles and cups, so it’s important to try and combat that.

What else are you working Do you change the setlist for on at the moment?

An album. ■

PRIMA YOU NEED TO SEE...

36 Upset

A

KOYO YOU NEED TO SEE...

Having just announced their debut album - ‘Would You Miss It?’, out 29th September via Pure Noise - KOYO are on the rise.

Hello Joey! How’s it going? What are you up to today?

All is well; at the time of writing this, we’ve been on tour with No Pressure, illusion seeing The Chisel and High Vis on their and Fleshwater. Currently driving to home turf.

Columbus; it’s been an incredible tour.

2000trees is a festival with its own strong sense of community - have you been before, either playing or as a fan?

I’ve never been prior, but I am excited for that very reason. For sure a festival we were very excited to be looped into from the jump. Can’t wait to see what it’s all about.

What was the first festival you went to as a fan? What was it like? Who did you see?

This Is Hardcore 2014, right after I graduated high school. Converge, Turmoil, Cold World, E Town, Fury of Five, it was a fat year. The list goes on; so many bands I still love to this day. The vibe was electric; I’d never experienced anything like it prior while attending smaller local hardcore shows.

What’s your favourite thing about playing music festivals? How does it compare to a normal gig?

The energy, especially for a band like ours. Festivals are usually logistically scaled up, big rooms and stages, but when the vibe as if it was any other normal show persists, just sized up, it’s unreal. It’s different on paper, but it doesn’t feel all that different when the experience is right.

If you could book any 3 bands to headline three nights of a festival, who are you taking?

Hatebreed, Taking Back Sunday, Silent Majority.

2000trees is doing a lot of work on being a sustainable festival. Is that something that’s important to you

when playing an event?

For sure, as it’s just a positive effort/ notion. Good for the world, good energy to put out there.

What else are you working on at the moment?

We have a record called ‘Would You Miss It?’ coming out 29th September. That’s our entire world right now; just rolling out that record and making sure as many people as possible give it a chance. ■

I’VE NEVER BEEN, BUT I A EXCITED FOR THAT VERY REASON”

JOEY CHIARAMONTE

Do you change the setlist up for festivals compared to your own shows?

Depends on the fest/vibe. We like to curate special setlists for certain festivals.

Our band sonically has a decent amount of range, so we’ll lean more melodic or more hardcore setlist-wise, depending on who we’re playing to.

What are the key elements of a good festival set, do you think?

Varies per band, but for us, nonstop energy. No breaks, just endless stage diving, moshing, whatever feels good.

Just high energy.

Who are you looking forward to catching up with or checking out at 2000trees this year?

Stoked to play the same day as our friends in One Step Closer, as well as Upset 37

H

38 Upset

HERIOT YOU NEED TO SEE...

Words: Ali Shutler. Photo: Harry Steel.

→ SINCE RELEASING ‘CLEANSED EXISTENCE’ BACK IN 2020, Heriot has been one of the most exciting, hype-inducing metal bands in the UK. They more than matched the buzz with 2022’s ridiculously brilliant debut album ‘Profound Mortality’, and as they go into a very busy festival season, the expectations don’t seem to be going anywhere.

“There’s pressure, and it’s just not stopping,” admits drummer Julian Gage.

“We figured we’d just ride the wave until people didn’t care anymore,” but more people are seemingly introduced to the vicious, beautiful world of Heriot at every gig. “It is weird,” grins Julian of the continued hype.

New single ‘Demure’ only poured fuel on the fire. The band wanted to get something out ahead of some European shows supporting Rolo Tomassi, so they booked a small rehearsal space and pulled it together in a few days. “We churned it out, but it’s probably one of my favourite songs we’ve ever made,” says Julian.

“We wanted to have a track that has a bit of everything that we do,” he continues, with the energetic song bounding between clean vocals and heavy breakdowns. “Everything that we did on the album is in that track. We didn’t intend for it to be five minutes long, but people don’t seem to mind,” he adds.

The band are feeling the pressure after the success of ‘Profound Mortality’, but they’re used to it. “There was a lot of pressure on us just making that album,” says Julian, with the band signing to Church Records with only a handful of singles to their name. “We quickly realised we actually had to make something.” So, over five gruelling days, they created ‘Profound Mortality’. “It was probably a little rushed, but I’m really proud of it. It got us here, after all.”

“I don’t think we’re going to be that lucky forever,” he adds of their rapid work ethic. “I’m sure we’ll hit a wall at some

HERIOT are one of the best new metal bands in the UK. With debut album ‘Profound Morality’ out now, the band are coming to 2000trees ahead of dates supporting Architects later this year.

THE LIVE SHOW IS WHERE WE FLOURISH. WE PRIDE OURSELVES ON THE ENERGY”

J U L I A N GAG E

point, but it’s working okay so far.” As it stands, they’re not too worried about what comes next, either. “We’ve got so many ideas for new material just sitting in a folder, so we’re more excited than anything to start work on new music.”

“We’re going to push boundaries with the new record,” he continues. “We found our sound with ‘Profound Mortality’, but we want to push beyond that now. There’s a new song that doesn’t have a name yet, but it’s entirely clean vocals which isn’t something we’ve done before. It’s still crushingly heavy, though,” he adds. “It’d be boring if we just did the same thing over and over again.”

He goes on to explain how strong the UK heavy scene is at the moment, which inspires the band to keep following their gut and keep chasing excitement.

Still, Julian isn’t sure why their music is connecting as fervently as it is. “We’re aware that we don’t make music for the masses. All our songs are either really long or really short, so it’s weird,” says Julian. “I just feel really lucky, there are not many bands that can play Slam Dunk and Damnation in the same year, but we do like a challenge,” he continues. “I try not to overthink it too much, though.”

With the continued excitement around

Heriot, the band are “well aware” that they need new music. As always, though, “it’s just finding the time to finish it.” That probably isn’t going to happen anytime soon.

The band are touring non-stop throughout June, while July sees them play festivals like 2000trees and Standon Calling ahead of a run of European shows with Architects. “It’s hard work, but it’s all worth it,” says Julian of their busy schedules. Heriot just want to get in front of as many people as possible.

“The live show is where we flourish,” says Julian. “We pride ourselves on the energy,” he continues while promising a “loud, abrasive” show that’s nothing but good vibes. “I think our music should be heard live,” he adds.

Heriot has existed in one form or another since Julian was a kid, and they’ve “always been ambitious with everything.” Before they put out ‘Profound Mortality’, they drew up a stepby-step plan on how to pitch to labels and play their favourite festivals. “It all went according to plan, which is wild,” grins Julian. “We always had that ambition, but I’m not sure we actually thought it would ever happen for us. To actually get to this point…” ■ Upset 39

BIG SPECIAL YOU NEED TO SEE...

Newly signed to SO Recordings, Black Country duo BIG SPECIAL make big songs and plan to bring a “full-on hype set” to 2000trees this summer.

Hello Joe and Cal! How’s it going?

What are you up to today?

Going sound at the moment, thanks; just on our way to the second day of Dot To Dot Festival in Nottingham.

2000trees is a festival with its own strong sense of community - have you been before, either playing or as a fan?

Cal: I’ve been before, and it’s easily one of my favourite festivals, full of real music fans and no egos. And the layout is great; you ain’t got to walk 45mins between acts to see another band.

What was the first festival you went to as a fan? What was it like? Who did you see?

Joe: I went to Glasto in ‘09 with some schoolmates and saw Neil Young and Springsteen. I’ve not been back since; only been there and Green Man, which I loved also, but excited to get to some more and chuffed to be doing 2000trees.

What’s your favourite thing about playing music festivals? How does it compare to a normal gig?

We try to give every gig the same energy and give it full whack for anyone who’s bought a ticket, so for us, we just take what we do at any club venue and… put it in a field.

Do you change the setlist up for festivals compared to your own shows?

We have our full-on hype set full of bangers, and we have one with a few mellower moments tucked in there, and we tend to read the room and play it by ear.

40 Upset

What are the key elements of a good festival set, do you think?

Depends on the time of day; we are on at 11am at 2000trees, so we can’t be too hard on the hangovers. But we probably will be.

If you could book any 3 bands to headline three nights of a festival, who are you taking?

Well, if it’s a fantasy, we have got to pick three dead folks, so it’s gotta be ghost Hendrix; Cal’s dream was to see Nirvana and Nina Simone for sure. But if they have to be alive, we’d pick Billy Woods, Benefits and Lankum.

2000trees is doing a lot of work on being a sustainable festival. Is that something that’s important to you when playing an event?

It’s nice to see 2000trees doing their bit for sustainability; it also gives us more time to push the band before the world explodes.

What else are you working on at the moment?

Cal has just re-planted all his veg and has got some grouting to do; other than that, we are gigging like mad and putting out singles until we can release our album; we’re sitting on a tonne of eggs and can’t wait to share them. ■

H

high. People want to dance, sing and stay engaged. I’m hoping to crack the code of the perfect set list this year. (A cover song is always a winner.)

L

Who are you looking forward to catching up with or checking out at 2000trees this year?

I’m looking forward to seeing Black Honey for the first time!

I’ve heard a lot about them, and I love their music.

Self-taught musician and songwriter HANNAH GRAE is in the middle of her breakout year, with a slew of festival dates in the diary, and her new mini album ‘Hell Is A Teenage Girl’ out now.

a fan?

I’ve never been! I’m so excited to experience the festival for the first time and also play my music! I’m really looking forward to it.

What was the first festival you went to as a fan? What was it like? Who did you see?

I was actually supposed to go to Reading Festival in 2020, but because of Covid, I Hello Hannah! How’s it couldn’t go. I’m really looking going? What are you up to forward to this year ahead and today? experiencing so many festivals Hey! Today I’ve been crocheting a sweater vest, and for the first time.

I’m about to make my own oat What’s your favourite milk! Haha. thing about playing music festivals? How does it 2000trees is a festival with compare to a normal gig? its own strong sense of community - have you been Festivals are my favourite.

When I write my songs, I before, either playing or as

always picture playing them at festivals, outdoors, with a crowd that couldn’t be happier to be there. It really is thrilling.

Also, meeting so many new people and fans is so special and something that doesn’t always happen at regular gigs.

If you could book any 3 bands to headline three nights of a festival, who are you taking?

Omg. Green Day (I love Billie Joe Armstrong so much), Bowling for Soup and probably Third Eye Blind. I’ve never seen any of them live, and they all have certain songs that I would SCREAM live.

2000trees is doing a lot of work on being a sustainable festival. Is that something that’s important to you when playing an event?

Yes, it really is. I try to be as sustainable as possible. I carry the biggest hydro flask around with me at all times and avoid drinking out of plastic bottles. I’m glad that 2000trees is so passionate about sustainability!

Do you change the setlist up for festivals compared to your own shows?

My setlist pretty much stays the same, but I’m hoping to add a few tear-jerkers and epic anthems to my set for festival What else are you working season. on at the moment?

My second project is in its final What are the key elements stages before being released. of a good festival set, do you I am SO excited for this. think?

Entering a new era while also I think that variety is playing epic shows is gonna be important, but at the same such a special experience. ■ time, the energy needs to stay

HANNAH YOU NEED TO SEE...

Upset 41

SWEE 42 Upset

ET

S HONEY REVENGE prove they’re worth all the buzz with their vital debut album.

Words: Linsey Teggert. Photos: Jordan Knight.

Upset 43

44 Upset

L

A musician Devin Papadol is exactly where she had planned to be right now. After spending years honing her craft, her band Honey Revenge are about to release their infectious debut album ‘Retrovision’, a name she had picked out for her first record before Honey Revenge even existed as a band.

Honey Revenge’s backstory is a little different from a lot of bands on the alt-music scene, with Devin beginning her musical career by studying at Hollywood’s Musicians Institute. “It definitely sounds more glamorous than it is,” insists Devin. “Have you ever been to Hollywood? I call it the armpit of LA!” “Honey Revenge would not be the band it is without me having the knowledge and experience I gained at MI. It gives you a chance to practice and get mistakes out of the way before entering a real scene of music. I started out on the vocal performance and songwriting programme before switching to the independent artist programme, where I learned how to market my music - how to make your brand and find your fanbase.

With the industry how it is right now, it’s the artists’ job to do most of the legwork.

It’s important to have control over how you want to be perceived.”

Incredibly self-aware and honest, Devin knows this all may sound a little calculated to the DIY music purists.

“What would I say to anyone who said we were manufactured? I would just show them the pictures of us playing in a shed!

There is literally a venue outside of LA called The Shed which is just in some guy’s backyard.”

While Devin’s music savvy has helped her navigate the pitfalls of the modern music industry, giving Honey Revenge the marketability that has made them accessible to so many people, it hasn’t always been an easy ride. No amount of planning and learning could prepare anyone for the pandemic that hit and derailed so many music careers.

The band Devin had formed while studying at MI had just begun rising through the local circuit and had finally got a booking agent. During that time period, guitarist Donovan Lloyd had messaged Devin on Instagram after seeing a video of the band playing in a skate shop. They were moving to LA from Georgia, having just graduated high school, and were wondering if any bands were looking for a guitarist.

“We’d just lost our guitarist and were

CONFIDENCE IS A STATE OF MIND”

D E V I N PA PA D O L

down to a three-piece from a five-piece, and then somehow, it became just Donny and me. Suddenly this 18-year-old kid is in charge of all of the instruments! I’m so thankful that they trusted me because I can only imagine how scary it was for them. They came into this thinking they were joining a full band, and they ended up with one other person who doesn’t know any chords!

“I was in a very vulnerable place when Donny joined the band. They watched me lose myself for a second because everyone I had created this project with had left, and when you’re the last person standing, you can’t help but start to wonder, is it me? Am I the problem?”

It’s hard to believe that Devin and Donny had never met until a few years ago; such is the bond and sense of community they’re created through Honey Revenge. Watching them perform together, they positively fizz with a shared energy: this is the band that Honey Revenge were meant to be.

Being essentially forced to work together as just a two-piece not only allowed the duo to nurture their addictive pop-rock sound but to also grow and encourage each other as people.

“Donny has transformed in this band,” beams Devin with pride. “When I met Donny, they weren’t sure how they wanted to put themselves out there in the world. They’re so much more comfortable with the way they express themselves now - they got more comfortable wearing make-up and wearing exactly what they want to wear and not giving a fuck what anyone else thinks. We’ll be in the middle of whoknows-where Florida, and they’re on stage in a skirt. They don’t care: we put ourselves out there so everyone else will put themselves out there; that’s the most empowering thing.”

It’s this strong sense of selfacceptance and honesty that makes Honey Revenge such an irresistible prospect. Devin explains that it was always important for them to create a strong sense of community for their fans, with all the bands she admired growing up making her feel like she was part of something.

“We call the fanbase The Swarm

because we want everyone to feel swarmed with love and in a place they belong. Growing up, I had Twitter friends and friends on fan accounts that I’m still friends with, and though I may not listen to those bands as much, those people are still part of my life. I want our fans to feel like they have a place with us.”

It’s hard not to fall in love with Devin’s super relatable attitude; for her, empowerment is about embracing her dorkiness and expressing her own selfdeprecating humour. ‘Retrovision’ is not just about jumping through different eras of style and aesthetic, but looking at things in retrospect, or being “enemies with your own expectations,” as Devin sums it up.

“A lot of the lyrics are about how I’m impatient and let my expectations get the best of me, but then the songs are really upbeat and bubbly and make you want to dance. It’s a sarcastic play on my own self-deprecation; I mean, with ‘Airhead’, I’m calling myself a dumb bitch essentially! I’m saying that no matter what my intentions are, I can’t seem to get it right.

“I wish I could be that sexy, confident person, but the best advice I can give is that confidence is a state of mind. When I was in the local music scene, I was on top of my shit; I knew I was a good performer and songwriter for what I was working with. Now I’m in the touring world; there’s no going back; I have to be on my A-game. But I’ve found that if you act like you know what you’re doing, people will fucking believe it!”

Though Devin is now living what she has worked towards, and her time studying at Hollywood’s Musicians Institute has certainly given her an advantage in terms of navigating her way through the music industry, she knows it’s not all grind mentality and that she has to stop and smell the roses sometimes.

“We were on a plane to Vegas to shoot a music video, and I was so tired, but I had to stop and realise, damn, our silly little rock songs are flying us somewhere right now! I can’t stop talking about how I feel, and now we’re on a plane to make a video about it!” ■ Honey Revenge’s album ‘Retrovision’ is out 23rd June.

Upset 45

FOUNDA OF DEC 46 Upset

ATIONS CAY O Australian punk rockers TROPHY EYES are entering a brand new era - and it’s not all sunshine.

Words: Alex Bradley. Photos: Tahmid Nurullah.

Upset 47

T

rophy Eyes called it a day.

They were over. Done.

‘Suicide and Sunshine’ was to be their final album.

An album made on their own terms culminating in a final thank you to their fans.

The decision came after spending two years locked down in Melbourne under some of the most stringent COVID measures in the world.

It took its toll to the point that the band were resolute that Trophy Eyes were finished.

They couldn’t record. They couldn’t tour. They couldn’t release content. “We were dying,” singer John Floreani admits.

“It was just bad for everyone’s mental health.

The effort. The sacrifice. The hope. Hope is the biggest killer. Imagine spending ten years of your life constantly hoping and staying positive, being like, ‘It’s okay, that went bad, but fingers crossed, envision where you want to be and keep trying and keep trying’. Ten years of that will crush your soul. Honestly, it will destroy a person. So we were all much older than we were and a lot more tired than we should have been when it came time for that decision.

It was very decisive. Our drummer Blake Caruso was like, ‘No, no I don’t want to do that’. The rest of us were like, ‘Man, I’m tired’.”

“I could write for National Geographic or go back to school for IT. Everyone else has so much more life outside of Trophy Eyes. Music isn’t even our major thing, even.

We all agreed that’s that.

“We would have been greedy if we asked for any more than we received. What we achieved and what I saw off the back of a couple of crappily written songs, I’m so so fortunate. So that’s where we were mentally. It was like, ‘What are we asking for from the universe right now?

Another ten years of this?’ No, that’s it; it’s done. So we were

48 Upset

very happy.

“We fought for it, tooth and nail, for 10 years, and at the end of it, we were like, ‘Okay, that’s enough’. We were all worn out, old, all 30 now, we are tired. It made a lot of sense.”

Now, having recorded the album and toured again, the band are less resounding in their conviction that Trophy Eyes will soon be no more.

Instead, they’re taking each day as it comes.

“By the time we came home, we were all like, ‘Yeah, that’s what we wanted’. The plan was to see how it goes, and if it goes shit, then it would be like, ‘Well, we did our best and have given you one last thing; thanks for caring’.

And if it doesn’t go like shit, if it goes well, then we might stick it out for another one,” he reasons. “I guess it came about from, ‘Don’t think about what anyone else wants or cares about; we’ve got to get our fulfilment now because it might be our last chance in our lives’.”

Despite that being the mindset now, while making ‘Suicide and Sunshine’, it was their last dance. That meant they did it their way and made absolutely no compromises. Unshackled and unburdened, they made the album they wanted to make for themselves.

“I don’t have to worry how well they go; I just have to worry if I like them - that was the biggest thing. You don’t care about the transactional result of these songs. Is it going to make me this big?

Will it give me this tour position? Will we sell this much merch? Will I be able to buy myself a couch? It doesn’t matter anymore because you’ve already given up. You’re already like, ‘It’s okay; I’ve clocked off’. So, now you’re writing for your soul. And that’s a different thing entirely. You’re telling the story of your life now, and that’s what it was,” John explains.

So John started writing

IT’S A CELEBRATION OF LIFE BUT ALSO A QUESTION OF, WHAT THE FUCK IS LIFE?”

J O H N F LO R E A N I for ‘Suicide and Sunshine’ at the very bottom. He went back home. He visited his childhood home and moved into the same room above the bar he used to work and live in. “I stayed in the same room for three days drinking whiskey and writing. That, again, sounds so pretentious and stupid, but that’s what I did. I put myself in that environment, and I lived through it there. It was bad. It was like the start of Apocalypse Now. It was fucking awful. But I beat that, and I walked out on the other side,” he describes.

It was part of a necessary evil of getting to the bottom of the pit to dredge up the stories he needed to tell.

Explaining his method for writing, he details, “When writing it, it’s cathartic, it’s overwhelming, it’s emotionally exhausting, and it’s violence because you go, ‘I’m going to write a song today’, and you write songs like this. You go down, you go right down into this horrible, dangerous place where you lock everything away.”

From thirty pretty decent demos, ‘Suicide and Sunshine’ began to take shape in the months that followed, and a concept began to emerge.

The result, this fourth Trophy Eyes album, is life through John Floreani’s lens. It’s life

and death. The good and the bad. Suicide and sunshine.

Life with all its many absurd contradictions and beautiful snapshots.

It all began with a photograph. A photo of Earth from Apollo 11 became John’s jumping-off point. Just this tiny little planet floating in space that we’ve all lived on became his fixation. Like it or not, his lyrics kept pulling him to this spiritual place of observing life, or what we know of it, in full spectrum.

John doesn’t align himself as someone “spiritual”, but “I’ve done a lot of hallucinogenics,” he laughs.

“I’m not a person like, ‘There is a guy up there in a white robe with a big old beard, and he created everything’. I’m leaning towards the idea that the universe created us so we could see the power and the beauty of it all. That sounds really acid-y but yeah… I’m not a spiritual person, but I know myself very well, and I’m very well-connected and comfortable with myself in every aspect.

“That’s where those songs came together, and they are a bit deeper than normal Trophy Eyes songs of, ‘This is what happened here in this town’. It’s a little bit more of, ‘What does life mean?’ ‘It’s good to be sad, and it’s good

to be happy because one day, we’ll never feel anything again’.

It’s a celebration of life but also a question of, what the fuck is life? That’s how it became structured.”

So, the album starts with ‘Sydney’, but before the song kicks in, there is a “cosmic” journey of spiralling synths designed, according to its architect, for the listener to question their place in the galaxy before arriving in the Australian city.

“What I wanted was for the album to start far away from where that photo was taken, and then you locate in on Sydney, and you find the guy, which is me, and then the story unfolds. And then it starts moving,” he explains.

As the warm synths from ‘Sydney’ bleed into ‘Life in Slow Motion’, the stage for the album is set as John soothes about the impermanence of life.

From there, the focus shifts, and family comes into view. ‘My Inheritance’ is a modern pop song with the eviscerating line of “I wish I could love you / and I wish you were dead”, while ‘Runaway Come Home’ lays a troubled relationship with his mother to the backdrop of a monumental cacophony.

There are drugs, addiction and self-loathing from song to song, but nothing hits with the same devastation as ‘Sean’.

‘Sean’ is not a tribute to the person but an account of John’s experience of the day his friend died. He reflects on the surreality of the Top 40 on the radio in the taxi and the sunshine on the day Sean took his own life. He remembers not believing the warning signs.

He remembers, “In the second verse where I was talking shit about him the day before he killed himself, and I was like, ‘Aahhh, he wouldn’t do it. It’s attention’. And our producer, Shane [Edwards], was like, ‘You can just leave that out if you want to’, and I was like, ‘No, the whole world has to know. The whole world has to know that I was like that. I was that shitty human being’. And that makes it more real because we all say Upset 49

that.”

It’s a tough song, and it sits, unflinching, right in the centre of the album. It’s unavoidable. “I realised if ‘Sean’ wasn’t there in the middle, then you’re not going to cry,” John says. “You need to cry because crying is part of feeling better.”

And when it came to recording the song, John shed more than his fair share of tears. “I couldn’t even track ‘Sean’ without crying,” he recalls. “My producer had to get it in takes. He let me smoke in the booth, and I got 50 Upset

blackout drunk recording it, so by the time I heard it the next day, I had no idea what I had tracked. I was like, ‘What was it?’ and he told me, and I heard my voice and was like, ‘Oh my God, this is shit. Like it should sound more like a conventional song’, and he was like, ‘I’m not touching it’.”

And there ‘Sean’ remains on ‘Suicide and Sunshine’. Its emotional release and the opportunity to cry is rewarded with the more upbeat lead single ‘What Hurts The Most’.

While on its own, the song charms with a simple, hooky

chorus and sun-drenched, stabby guitars but in the context of the album, the scars from ‘Sean’ aren’t fully healed and give the song an extra dimension of longing.

“It’s not a nice song either,” John admits. “All the songs are pretty dismal.”

Away from the sprawling synths, there are moments where Trophy Eyes of old still appear. ‘Kill’ has this brooding, threatening bass line. ‘OMW’ finds a balance between Nine Inch Nails and Oasis, with an industrial-sounding opening giving way to a modern,

poppy vocal.

“Old Trophy Eyes but new,” as John describes it. “Without knowing, it takes a ‘Lavender Bay’ and ‘Nosebleed’ section of that album. It does that same job that those other two songs did, not that we were intending it to do that, but it played out that way which I thought was really funny, like, ‘Shit, we can’t help but do that’. That’s honest, true, Trophy Eyes.”

Even when the album looks like it’s found a ray of happiness on ‘Sweet Soft Sound,’ John tempers it by

MY INTERNAL MONOLOGUE IS LIKE, ‘YOU’RE A FAILURE. YOU’RE A LOSER’.

CONSTANTLY. ALL DAY. EVERY DAY” J O H N F LO R E A N I

explaining that it’s not a love song for his girlfriend but about capturing the feeling.

Likening the song to the album’s artwork, a blurred portrait stuck between two moments, “It’s a snapshot of that one millisecond that will be lost in the ether for eternity.”

The song had been through a few iterations as a Springsteen-style track, and it got a Coldplay ‘Fix You’ treatment too, but, in the end, this ballad is stark acoustic guitar, strings, and Billie Eilish-inspired whispers.

It’s a song that John spent a lot of time perfecting but ended up as one he is most proud of on the record. “That kind of love, I’m not sure many people are lucky enough to experience that, and I had to make sure that I got that off my chest before I die. I had to write about that experience,” he admits.

Whether it was knowing the band was over or feeling as though he was observing the world from space, John Floreani has become more of a documentarian than a songwriter on ‘Suicide and Sunshine’. He is obligated to tell the story, warts’n’all.

“This is my job as a writer to make sure the story is being told,” he begins, likening his responsibility to Herman Melville, whose story of whaling stamped a place in time for all those who read it.

“I’ve got to write it because it happened, and it’s got to be documented. It has to be done. Jeremy Bolm from Touché Amoré said, ‘I made a pact to myself. If I was ever to raise my voice, I would be as honest as I could be no matter what it would destroy’. That changed the way I wrote for the rest of my life.”

And to change anything, like he could have with ‘Sean’ or in the lines about his family, would be dishonest. “It would make my art less credible,” he says.

In equal measure to making

sure the band left no stone unturned sonically, John made sure nothing was left unsaid either. After all, this was their final chance to say it.

“Life is such a beautiful thing. All these stories are so unlikely that they should ever happen, which makes them so beautiful, but they’ve got to be documented. That’s what I consider my job. I’m not trying to sound like a martyr or sniff my own farts here, I still hate everything I do, but I still do my best to just write it down as it happens,” he explains.

So, as the final track came around, their last hurrah, their farewell, Trophy Eyes pull out all the stops for ‘Epilogue’.

“Considering the moment and the meaning behind it, it’s the best thing I’ve ever done. It’s the best piece of work I’ve ever done. That’s the first time I pat myself on the back like, ‘That was correct’,” John confesses.

“My only regret / is you never had a chance / to trade places with me / see yourself from where I stand / what a spectacular view / that I had of you,” he sings to wrap up the song, the album and Trophy Eyes completely all after one of the best angsty rock band chorus lines ever written.

If it really is the last word from Trophy Eyes, then they couldn’t have said it any better. It’s a heartfelt appreciation for every person

that has checked out Trophy Eyes in the last decade. But, for John, whether it’s Trophy Eyes or not, the driving force for him has always been the battle against himself.

“My internal monologue is like, ‘Fuck yourself. You’re a failure. You’re a loser’.

Constantly. All day. Every day. ‘You’re gonna fuck this up. You can’t actually sing.

No one out there gives a fuck about you’. So walking out there and doing it, I thank myself for that because I beat that guy, and I come into the venue, and I show up every single time and do my absolute best. And I thank everyone for being there, but that’s not what powers me out there. Weirdly enough, it’s proving me wrong every single time. My conscience is a liar,” he smiles.

So, in the end, Trophy Eyes come out victorious.

In ‘Suicide and Sunshine’, they made an album for themselves, and it turned out to be the most accomplished of them all. It’s raw. It’s honest.

It’s real. It’s like how John Floreani sees it. If this is the end for them as a band, it’s on their own terms. If it’s not, then the future looks bright; maybe John will buy that couch. Either way, rightly or wrongly, life goes on. ■ Trophy Eyes’ album ‘Suicide and Sunshine’ is out 23rd June.

Upset 51

Militarie Gun

LIFE UNDER THE GUN ★★★★★

→ It’s been quite the journey for Californian hardcore outfit Militarie Gun, going from a lockdown project born out of frustration to standing on the cusp of a major breakout in barely three years. In that time, off the back of a handful of rabidlyreceived EPs, they’ve also become well-acquainted with the UK before even

52 Upset

dropping their debut album proper. In short, they’re about the hottest act on Planet Hardcore right now.

And although the hype machine has been working overtime before the release of ‘Life Under the Gun’, any doubts about the validity of such praise are obliterated thanks to 25 minutes and 12 tracks of assured and smart indie-punk flecked hardcore.

Opening salvo ‘Do It Faster’ and ‘Very High’ highlight this shift in direction. No longer, purveyors of obtuse off-kilter hardcore, they’re songs which align much more closely with the likes of Prince Daddy & the Hyena, reigning in the excess and bathing their hardcore roots with oodles of melody and hooks.

For fans of ‘All Roads Lead To The Gun’ and ‘All Roads

Lead To The Gun II’, such a jump might be something of a shock initially, but there’s no question the group suit this new direction perfectly. A case in point is the tweaked version of ‘Big Disappointment’. Once a juddering, bludgeoning hardcore blast, here its serrated hooks are brought to the fore thanks to a crisper, cleaner mix. The results transform the song – considerably – for the better. These changes are even more pronounced on the outstanding ‘Never Fucked Up Once’, where they go full-on indie-rock, or the jaunty alt-rock of ‘Seizure of Assets’.

There’s still plenty on ‘Life Under the Gun’ to get the pulse racing, though – ‘Return Policy’ starts like a freight train – but even then, like on the closing title

track, melody and hooks find themselves front and centre.

Lyrically and thematically, it’s a typically self-aware effort from vocalist Ian Shelton as he digs into themes of empathy, honesty and accountability, yet it never feels like a sermon; instead, the lens is constantly turned inwards, demanding compassion from the listener.

Ultimately, this is what hardcore should be in 2023 – in spirit, if not sound. By moving away from their roots, there’s almost certainly the risk of backlash – no scene is codified to quite the same extent as hardcore – but by refusing to be boxed in, Militarie Gun have broken free and broken out. The results are nothing short of astonishing. Rob Mair

RATED

odyssey that defies all preconceptions and norms.

This extraordinary sonic endeavour was born from an unconventional process — the band ventured into the studio without having played any of the songs together all the way through. The outcome?

An album that richly embodies their daring approach.

‘Blossom’ is a collision of diverse genres, an orchestrated pandemonium that disorients and captivates. It’s a whirlwind of cacophony, where unyielding metal extremity converges with indierock nuances and unexpected instrumental arrangements.

This is more than a mere album; it’s an exhilarating excursion that seizes you with unmatched allure, refusing to relinquish its grip. ‘Blossom’ is an absolute necessity prepare to be captivated.

Alex Ingle

Honey Revenge

‘Rerun’ echoes through the feeling of reliving the same day over and over again, but there’s nothing mundane about ‘Retrovision’. A journey through a blitz of brisk pop-rock bangers, this one’s non-negotiable. Dan Harrison

RETROVISION

★★★★

→ Strap in; Honey Revenge’s debut album ‘Retrovision’ is a highoctane, pop-rock thrill ride. Kicking off with ‘Airhead’, a track loaded with ear-worm lyrics and a guitar riff that’ll be lodged in the brain for days, Devin Papadol’s vocals pack one hell of a punch. Harmonising brilliantly with Donovan Lloyd’s shredding guitar, they create a sound that’s equal parts potent and infectious. Bathed in retro glow and raw honesty, the record doesn’t let up, diving deep into the rough seas of control, relationships, and personal battles. Standout

Killer Mike MICHAEL

★★★★

→ Killer Mike’s triumphant return to the solo scene comes in the form of ‘MICHAEL’, his first album in over a decade - an introspective masterpiece that takes a deep dive into Mike’s Atlanta roots, painting a vivid picture of his life. At the heart of the album lies ‘Motherless’, a poignant track exploring the enduring pain of losing a mother. Eryn

Allen Kane’s soul-stirring feature adds an extra layer of emotion, making it a standout pillar.

‘MICHAEL’ goes beyond personal struggles, presenting a diverse array of life experiences through various narratives. From the gritty story of teen pregnancy in ‘Slummer’ to the panoramic view of Mike’s barbershop in ‘Something For The Junkies’, and the exploration of post-fame realities in ‘Scientists & Engineers’, it weaves a complex tapestry of Mike’s past, present, and future.

The album’s brilliance is amplified by an exceptional ensemble of featured artists. From Young Thug’s dynamic presence on ‘Run’ to the unmatched lyrical prowess of Andre 3000 and Future on ‘Scientists & Engineers’, and 2 Chainz’s distinctive flair on ‘Spaceship’, each guest seamlessly enhances the sonic palette.

‘MICHAEL’ transcends being a mere collection

of tracks; it unfolds as a layered narrative, revealing greater depth with each listen. It not only reflects Mike’s artistic growth but also showcases his commitment to social discourse and activism, using his platform for change. ‘MICHAEL’ marks a powerful comeback, solidifying Killer Mike’s position as one of the South’s finest rappers.

This album showcases Mike at his rawest and most authentic — a legend continually pushing the boundaries of hip-hop. Alex Ingle

Pupil Slicer BLOSSOM

★★★★★

→ Pupil Slicer’s latest opus, ‘Blossom’ thrusts listeners into an audial

Trophy Eyes SUICIDE & SUNSHINE

★★★★

→ Heavenly synth is cut by jarringly guttural screams; it’s an apt opener for an album that centres around contrast.

Trophy Eyes once believed that ‘Suicide and Sunshine’ would be their final album, and it’s abundantly clear that they put their all into the making of this record.

It’s a bares snapshot of life - both the good and the bad. Throughout, frontman John Floreani showcases his ability to paint a scene with an aching realism. If this were to be the band’s closing chapter? What a spectacular send-off.

Kelsey Mclure

Upset 53

Death Cab for Cutie

Bright Eyes

This song has always felt like a perfect representation of suburban summers. Even now, when I listen, I’m brought back to sticky summer nights, the sound of cicadas, and wet grass stuck to my bare feet. I remember listening to this and imagining what it would be like to have a summer fling. There’s a certain bittersweetness here that I love.

I don’t know what part of my teenage self truly believed I related to these lyrics despite the fact that I had never even kissed a boy. I guess I just felt an indescribable angst without an obvious cure, and I’ve always been attracted to songs about an anti-hero. The older I get, the more meaning I, unfortunately, find here.

Photobooth

Neutral Milk Hotel

Two-Headed Boy

History has never been my strong point; it makes almost no sense that my teenage self would become obsessed with a concept album about WWII. This song just really hit me hard. I think it has something to do with how it highlights the fragility of bodily autonomy. The characters are presumably forced to disrobe for a Nazi medical examination.

And they’re just expected to get on with it. To accept it.

Because what else can you do?

Humankind just has to endure in the wake of the horrible things people do.

Lover I Don’t Have To Love

The Weakerthans

This Is a Fire Door Never Leave Open

The lyrics, “You breathe in 40 years of failing to describe a feeling”, absolutely ring true.

This song means so much to me; John K Samson just nails the bittersweet experience of adulthood. When your coming of age is behind you, but there’s still so much room to grow. The song is so perfect that I almost don’t feel like writing songs anymore because what’s the point?

They’ll never be this.

The Mountain Goats

BEST EX EVERYONE HAS THOSE FORMATIVE BANDS AND TRACKS THAT FIRST GOT THEM INTO MUSIC AND HELPED SHAPE THEIR VERY BEING. THIS MONTH, BEST EX TAKES US THROUGH SOME OF THE SONGS THAT MEANT THE MOST TO HER DURING HER TEENAGE YEARS.

The Best Ever Death Metal Band In Denton

I know this song is comedic, but when I first heard it, I was a budding singer-songwriter stuck in a hometown that didn’t appreciate the arts. I was in the marching band, and my teacher told me that I would never be a professional musician because I just wasn’t good enough. I never dreamed that I’d see myself on MTV or have an album on a Billboard chart. But I used to listen to this song and remind myself that even the smallest, most average stories, deserve to

be told.

Rilo Kiley

A Better Son/Daughter I was always an anxious kid.

At eight years old, I remember having knots in my chest about nuclear war and the melting ice caps. I still am afraid of those things, and the older I get, the more I put on that list. This song always resonated with me because it’s about the extreme highs and lows of living with anxiety.

Beulah

If We Can Land a Man on the Moon, Surely I Can Win Your Heart

A quirky indie rock song with a horn section? I’m sold.

Sometimes you just need something upbeat and fun to sing along to. Especially when you’re the kind of teenager listening to Bright Eyes on repeat.

Arcade Fire Windowsill

Remember those fears I mentioned before - melting ice caps, war? This song has unfortunately aged a little too well, but this album has always been a comfort to me.

When I first started touring, I used to listen to it on our overnight drives. By the time this song came on, I’d always be at least mostly asleep. I admit it’s kind of weird to fall asleep to a song about the world slowly devolving, but I’m now an adult who falls asleep reading the news. And I wonder why I have an issue with anxiety.

Best Ex’s single ‘Tell Your Friends’ is out now.

54 Upset

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