Upset, October 2021

#

70

iDKHOW

Nova Twins

Mayday Parade

State Champ s

While She Sle ep s

Spiritb ox

Hot Milk

upsetmagazine.com

** Plus **

Grays cale

+ loads more

Twin Atlantic.

Wage War. Thrice.

They came! They saw! They’re Conquering!

+ SLAM DUNK 21 20 G IN D EA R

FESTIVAL FRENZY! Gigantic Riffs! Riots! vulva! fluffy dancing

OCTOBER 2021 Issue 70

RIOT 4. TWIN ATLANTIC 8. SPIRITBOX 10. SLAM DUNK 12. MAYDAY PARADE 15. STATE CHAMPS 16. PRESS TO MECO 18. WAGE WAR 22. READING 24. IDKHOW 26. NOVA TWINS 28. CHERYM 32. SINCERE ENGINEER 34. HOT MILK ABOUT TO BREAK 36. ONE STEP CLOSER FEATURES 38. EMPLOYED TO SERVE 42. COLLEEN GREEN 46. BLANKET 48. GRAYSCALE 52. ILLUMINATI HOTTIES 54. THRICE 62. SLEIGH BELLS

Upset Editor Stephen Ackroyd Deputy Editor Victoria Sinden Associate Editor Ali Shutler Scribblers Alex Bradley, Dan Harrison, Finlay Holden, Jack Press, Jake Hawkes, Jamie MacMillan, Jasleen Dhindsa, Josh Williams, Kelsey McClure, Liam Konemann, Linsey Teggert, Martyn Young, Rob Mair, Sam Taylor, Steven Loftin Snappers Bryce Hall, Cameron Brisbane, Frances Beach, Jamie MacMillan, Jason McDonald, Jodie Guest, Katie Hovland, Lissyelle Laricchia, Matty Vogel, Paul Harries, Patrick Gunning, Sarah Louise Bennett, Spencer Chaimberlain P U B L I S H E D F RO M

W E LCO M E TOT H E B U N K E R.CO M U N I T 10, 23 G RA N G E RO A D, H A S T I N G S, T N34 2R L

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.

HELLO. Finally, it feels like we're back in business. Reading & Leeds and Slam Dunk have both happened, tours are starting to kick into gear - life is beginning to come back to normal. Which is why it might feel like this month's edition of Upset is especially packed with 'stuff'.

From our much-loved returning cover stars Employed To Serve - determined to make a statement with their new album 'Conquering' - to all the many lauded acts we managed to pin down on the circuit this month; everyone is eager to get back at it in the best way possible. It's been a long

old wait, after all.

With just two issues left until the end of the year, it might be 2022 before we finally see everything firing back on full cylinders - especially with international travel still a bit of a pain - but the light is at the end of the tunnel. Good music will prevail. It always does.

S tephen

Editor / @stephenackroyd

Riot.

EVERYTHING HAPPENING IN ROCK

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THIS MONTH >>>

Important cultural moments in this month's issue #1. Slam Dunk happened, and we were there to bring you the full low-down. p.10

Important cultural moments in this month's issue #2. Reading happened, and we were there to bring you the full... yeah, you've got it. p.22

If you're looking for future superstars, you need cast your eyes no further than Hot Milk, who run us through their new EP track by track. p.34

“WE WERE BACKED INTO MAKING MORE OF A LO-FI SOUNDING RECORD” Back as a two piece, and with a brave new vision, Twin Atlantic return as you’ve never heard them before.

Words: Alex Bradley. Photo: Cameron Brisbane.

I

t seems not so long ago that Twin Atlantic released their experimental electronic-rock album ‘Power’ at the start of 2020, but the band are already plotting the followup with ‘Transparency’ set to arrive this January.

As touring for ‘Power’ was shelved when the lockdowns began two months after the release of the album, Sam McTrusty wasted no time to begin work on Twin Atlantic’s sixth album as he raided the band’s studio and took his gear back to his apartment in Glasgow.

“I just took all the key pieces because I was right on it saying, ‘nah man, this is gonna be like two years’. I was like fucking a prophet of doom to the rest of the band, and so I just immediately started writing like then next day,”

the singer explains.

The first glimpse of ‘Transparency’ has already dropped in the form of the suave and stylish groove of ‘Bang on the Gong’ with its Once Upon A Time In Hollywood-inspired video.

That more moody, nuanced approach in the lead single is likely to be a feature of the album as opposed to the usual punch delivered in Twin Atlantic choruses of old, but that’s another casualty of the pandemic, as Sam details.

“I was living in our flat in Glasgow, so I couldn’t really sing in my upper register because it’s dead, dead loud, so a lot of the record is way, way lower.

Some of it is even on a spoken level because the guy I was working with is eight hours behind me, so I’m working until 3-4 in the morning. There’s no way I could do all the *screams*

so we were backed into making more of a lo-fi sounding record.”

It took six weeks from the start of the first lockdown to get the album finished, with Sam working remotely with producer Jacknife in order to make ‘Transparency’ become apparent. All the while, the singer’s wife, an NHS nurse, was working on COVID wards as the first wave hit the UK. That shared perspective is likely to play a big part in the album.

“I don’t know whether it’s self-indulgence or an ego thing, but growing up, I was always like ‘I will write about what I know rather than some fantasy thing or try and make up a story’.

It kind of became second nature to write about what was happening,” Sam says, admitting the craziness at the start of the pandemic was a large source of inspiration for when writing

this album.

And Twin Atlantic have remained cautious ever since. Speaking at the Download Pilot event, the singer revealed they had been together and rehearsed just once since cancelling their last show in Cardiff 18 months previous. Clearly seeing the test event as the deep end in which to return to live music, Sam considered that smaller shows may be the safest way to experience ‘Transparency’ but also the best setting for the stripped-down album.

“It’s certainly going to be easier to tour,” Sam smiles. “I’m not going to have to rip my voice every night!” P Twin Atlantic’s album ‘Transparency’ is out 22nd January.

Upset 5

Riot.

Everything you need to know about

Spiritbox’s new album

‘Eternal Blue’

Ian Miles from Creeper is kicking out on his own. His new stripped-back solo project will see him launch a debut album, 'Degradation, Death, Decay', on 15th October via Big Scary Monsters. “I’ve never really seen this as a solo project because I’ve been writing and recording acoustic music since I was about 15," he explains. "I don’t want to be the focus of this record, it’s not about me so I have decided to hide me. I want people to solely focus on the art."

Loathe have announced a new UK headline tour. Heading out from 9th December in Glasgow, the band will be performing their recent album 'I Let It In And It Took Everything' in full, with support from Belgian shoegazers Slow Crush and rising newcomers Modern Error.

Trivium's new album, 'In The Court Of The Dragon', is set for release on 8th October. The full-length was produced and mixed by Josh Wilbur and recorded in autumn 2020. "We went into this album knowing we had time to consider everything and anything that came about during this period, and if need be, we could start again if it didn’t feel right," says Paolo Gregoletto.

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Courtney LaPlante from Canadian metal outfit Spiritbox lets us in on some tit-bits about debut album, ‘Eternal Blue’.

Photo: Travis Shinn.

THE ALBUM WAS INITIALLY SLATED FOR APRIL 2020, BUT DUE TO THE PANDEMIC, we decided to push pause while we evaluated the world and then decided to release our single Holy Roller in July just to hold people over.

WE DID PREPRODUCTION ON THE ALBUM MOSTLY REMOTELY OVER ZOOM with our producer Dan Braunstein.

WE RECORDED THE ALBUM IN JOSHUA TREE IN CALIFORNIA at an Air BNB completely isolated in February 2020.

This was the first time we were in a room with our producer Dan Braunstein working on songs in over three years.

MOST OF THE SONGS ON THE ALBUM were written in 2018 and 2019.

THE TITLE ‘ETERNAL BLUE’ COMES FROM A CYBER-ATTACK EXPLOIT developed by the U.S. National Security Agency (NSA). It was leaked by the Shadow Brokers hacker group on 14th April 2017.

MIKE STRINGER, OUR GUITARIST, co-produced the album.

OUR SONG ‘YELLOWJACKET’ features a guest spot from Sam Carter (from Architects).

AT THE POINT OUR BAND BEGAN RECORDING ‘ETERNAL BLUE’, we’d only played 10 live shows together two in Canada and eight in Europe - though we have been in other bands before.

OUR FIRST TOUR (IN EUROPE SUPPORTING AFTER THE BURIAL) was cancelled during it, because of the pandemic.

What was going to be our second tour, this time in the USA this summer with Limp Bizkit, also got cancelled due to the pandemic. P

Riot.

SLAM DUNK It's September, not May, but Slam Dunk is back for 2021...

Words: Alex Bradley. Photo: Sarah Louise Bennett.

G

ood things come to those who wait.

As Slam Dunk returns at Temple Newsam in Leeds and Hatfield Park, those words have never been more true.

US bands like NOFX, Alkaline Trio, State Champs and Mayday Parade all manage to make it safely over, much to the credit of the festival and the bands themselves. Waterparks, who have been in the UK an extra week for Reading & Leeds, make it for Slam Dunk North but miss the southern leg

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due to a positive test in their ranks.

Of course, the line-up is much changed from the original list that featured Sum 41 as headliners. Still, there's a core that remains with a slew of homegrown talent and the opportunity for While She Sleeps and Boston Manor to headline their respective stages, Funeral for a Friend to make a long-awaited return and McFly to make a special guest appearance.

But before the music starts, the inescapable COVID measures are, thankfully, easy enough to navigate with vaccine passports for the double

jabbed and proof of negative tests for everyone else coming at the expense of the festival wristband, which has been ditched for hygiene reasons and to speed up entry.

In the end, the only thing fans on the Sunday in Hatfield are longing for (apart from sun cream) is a Bank Holiday Monday, which normally helps when the festival takes place in May. So, here are some of the notable mentions from Slam Dunk's return.

BLOOD YOUTH

"After this weekend, I might not be in the band, but Blood Youth continues forever," promises Kaya Tarsus as the frontman makes his final appearances in the band.

As if to prove their plans for the future, Blood Youth rifle through new singles' Cell' and 'Iron Lung' as they build towards the release of their third album before the end of the year.

LOATHE

CREEPER

Despite theories, Creeper don't burst into flames in the afternoon sunshine but instead command the Main Stage without any of their usual lights and fireworks. Will Gould holds the crowd in the palm of his hand as he conducts them through the theatrical and campy 'Cyanide' and leaves them hanging on his every word during 'Misery'.

Undoubtedly they're a special band, but still able take it up another level when Will shares the spotlight with keyboardist Hannah Hermione for their duet of the blockbuster new single 'Midnight'.

Loathe are in complete command as they further state their claim as the most exciting metalcore band around. Whether it's the crushing weight of 'Aggressive Evolution' or the hypnotic and melodic 'Two-Way Mirror', all eyes are on Kadeem France as he stalks the stage in a completely mesmerising performance.

ROAM

It doesn't take long for bouncy pop-punk to take over on the Main Stage, and ROAM bring it in spades. With the crowd more than ready to have a bop, tunes like 'Alive', 'Flatline' and 'Playing Fiction' are the perfect excuse to let loose.

TRASH BOAT

"Slam Dunk show me something," demands

Upset 9

Riot.

MAYDAY PARADE

Tobi Duncan as Trash Boat show off their new album 'Don't You Feel Amazing?'. While the harder edge of their new tracks 'Silence is Golden' and 'Bad Entertainment' (which features an appearance from As Everything Unfolds' Charlie Rolfe) have pockets of fans, it's more poppy numbers 'Tring Quarry' and 'Strangers' where the crowd really get into gear.

The sunshine in Leeds appears for 20 minutes during the whole day as Mayday Parade introduce 'It's Hard to be Religious…', and leaves again as they finish their set with 'Oh Well, Oh Well', which feels completely befitting of such a wholesome offering.

Old favourites like 'Jamie All Over' were made for the sun-kissed Slam Dunk Main Stage and provide a standout moment for the festival, while fresher cuts like 'First Train' and 'It Is What It Is' get their debut and show Mayday Parade still have what it takes to make anthems for sad kids.

WARGASM

Hotly-tipped and fresh off their Heavy Music Awards nip-slip bullshit, Wargasm continue their streak of winning over every crowd they play to.

Their set kicks off bulging with chaotic energy as Sam Matlock and Milkie Way tear around the stage, but as they settle into the groove with new tune 'Salma Hayek' and a cover of N.E.R.D's 'Lapdance', it becomes apparent that Wargasm's bite matches their bark.

FUNERAL FOR A FRIEND

Funeral for a Friend roll back the years as they make their return at Slam Dunk. There's nothing synthetic or dated as the Welsh legends rip through half an hour that ticks off all their biggest hits.

'Roses for the Dead' hits with the same vigour as a band playing it for the very first time, much to the delight of the sweaty tent, and all the revellers spilling out around the sides.

SLAM DUNK Q&A

MAYDAY PARADE

Mayday Parade have been busier than ever during the pandemic: they've managed to put out four new singles, an EP, a live EP, and a bunch of music videos and livestreams in that time. Of course, it hasn't all been plain sailing, but as the Florida natives make it over to the UK for Slam Dunk, their first live show in two years, it seems like things were getting back on track. Singer Derek Sanders and guitarist Alex Garcia give us the lowdown on their return at the festival and their plans to keep the new music coming through the rest of the year.

smooth and the minor things like having to run out of time and cut a couple of songs is not a huge deal. I think everyone had a great time, and that's what matters. Now that one's out of the way, we can be a little more relaxed and a little more eager to get up there today and just kind of keep that fun.

In the 18 months that everyone's been locked away, you've actually been really busy. How did you find playing some of those new songs live?

Derek: It was cool, we played 'It Is What It Is'; I felt like we had people singing and, it's always a weird thing especially playing it the first time. We were supposed to play 'Kids of Summer' yesterday, but we had to cut two songs, so if it all goes well today, we'll play that one for the very first time live ever. It's always interesting, you're always a little nervous about playing the new songs, especially for the very first time, but it felt good yesterday.

What can you say, and what can you not say?

Derek: Exactly, yeah, you know. There'll be some announcements before too long about the new music, but I'm really excited about it.

We kind of took the time and, as you said, we've been busy through the pandemic, and we've been in the studio a lot.

Honestly, through those 18 months, there were at least three or four times we were in the studio. And also, doing live streams and things like that, so we've been trying to stay busy with music. We have a lot of music recorded that'll be coming out through this year and next year, and I'm really excited about it.

Did it all go the way you wanted despite having to cut songs?

Derek: Yeah, I think, all in all, it could have been so much worse. I think it all went pretty

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We talked last year about the 'Out of Here' EP and how that seemed like it was the bones of an album. Is that feeling more fleshed out now?

Derek: So we actually have a bunch of stuff recorded.

So it's all coming from the same creative space?

Derek: You know, I guess so.

I mean, we don't really have a conversation of like, "how do

we approach these songs?" We just write what we write and then try and make it all make sense and come together the best way we can. Some stuff that's new is experimental, things that we've never tried before; some stuff that's heavier, darker, softer, poppy.

There's some stuff that's classic Mayday Parade, and just a little bit of everything.

That's usually the way we approach it.

You've previously said that you weren't feeling particularly creative as a result of being locked down.

Has that changed at all?

Derek: Yeah, I'd say so. For a while there in the pandemic, it was hard to find the motivation to be creative. I'd sit at my computer with a guitar, and you kind of just hit a wall and everything was just so messed up in the world. But then, I think once enough time passed, you realised this isn't going anywhere, and this is just the way things are now.

I feel like I was able, for all of us, were able to push past that and just get into the routine of doing it again.

Is there anything that you've since written that's kind of influenced by that experience in the last year or so?

Derek: I think so for sure, I think that a lot of the new songs have been influenced by the pandemic in general and just the stress of dealing with that. I'd say it's in there. P

EMPLOYED TO SERVE CONQUERING THE NEW ALBUM SEPTEMBER 17TH

GOJIRA UK TOUR DATES 04.03.22 london 05.03.22 nottingham 06.03.22 newcastle 08.03.22 glasgow 10.03.22 belfast du 11.03.22 dublin 13.03.22 manchester 14.03.22 cardiff

Riot.

VUKOVI

Vukovi delight with one of the most energetic sets of the day. "Let's bring this to the next fucking level," orders singer Janine Shilstone before sighing "I'm fucked," as she yo-yos in and out of the crowd as if to hand-deliver the energy that was onstage.

With their festival set a welloiled machine of hits, Vukovi smash out 'SLO', 'Animal' and round off with 'La Di Da', which includes some high kicks from Wargasm's Milkie Way for good measure.

WATERPARKS

Clashing with festival stalwarts Alkaline Trio in Leeds, and then a positive test in their camp so cancelling for Day 2, means it's a tough weekend for Waterparks. Those who do get to see them are not left disappointed as they put on a vibrant set. With a light show to match their hair dye, the trio make a statement on the here and now of rock music with 'I Miss Having Sex But at Least I Don't Want to Die Anymore' really capturing that moment in the middle of their set.

ALKALINE TRIO

Alkaline Trio welcome a huge crowd to the Punk in Drublic Stage as they dust off some old favourites with the late afternoon sunshine

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SLAM DUNK Q&A

STATE CHAMPS State Champs are on the comeback trail with their sights set on releasing their fourth album in the coming months. Having shared new single 'Just Sound' just days before their set at Slam Dunk, the pop-punk heavyweights also debuted 'Outta My Head' ahead of its actual release the following week as the first glimpse of the band's shiny new beginnings.

Singer Derek DiScanio and lead guitarist Tyler Szalkowski lift the lid on preparations for Slam Dunk, what's to come, and saying goodbye to the 'Living Proof' era.

Playing a song for the first time ever, like with 'Outta My Head', usually means playing to some blank stares, but the Leeds crowd were right there with you last night.

Tyler: Yeah, it's always really nerve-wracking to play a new one.

Derek: Yeah, we didn't know.

We were like, "Can we do it?

Do we try it?" and we've never been ones to do that because of the crowd, but they got it going. And then I saw people singing by the end of the song.

It's one of those "earworm-y" songs, and that played into the "yeah, we've got to try this."

And, of course, you got to play the new single 'Just Sound' too. What has the reaction been like to that song?

Derek: Extreme. Crazy. It's been a good first comeback song as far as the new era of us. I think it's a good representation of what's to come on the new record as well. And playing it live for the first time, it's really fun to play and just gets the crowd going.

It's another catchy, poppy hook that I think really suits us.

And, it went over great.

How do you feel behind leaving behind the 'Living Proof' era? Was it cut short, or did it run its course?

Tyler: I think it ran its course.

I feel pretty fine stepping into a new era. I'm actually really excited about it.

Derek: When the pandemic started too, it was like, "Okay, that's what we've built for the 'Living Proof' era or at least as much as it could be worth," and then it gave us time to then go into the studio, sit back and write a bunch of new songs and figure out ourselves and what's next.

Tyler: Yeah, we were definitely gonna take time to go do a new record anyway. It wasn't gonna be two fucking years, but y'know!

Derek: That being said, we had to search and be like, what is next for us on our fourth album? So we tried a bunch of things. We wrote a tonne of songs. We must have written close to 30-something songs, and now we had to pick and be like, what do we really want to be about now? Do we want to go back to our roots a little bit? Do we want to try this?

Try that?

Yeah, 'Living Proof' was a huge album, so do you decide to go bigger or in a completely different direction.

Derek: Yeah, it was like, do we want to go super poppy or try heavier stuff? And, we tried it all. And it is there are bits of it everywhere. I think that's why it's gonna be special. It's our best sounding songs that we have.

Tyler: Sonically, we sound a lot... I mean, I hate saying the word "mature", but it just sounds way better sonically than the other records.

Derek: Yeah, but we weren't afraid to think outside of the box as far as like some poppier elements, some darker elements and then, ultimately, our really moody pop-punk angsty shit; there is plenty of that as well.

Is there any part of the writing for the new album that's been influenced by the last few years being spent locked away?

Tyler: I think so. I mean there's definitely a song that has to do… kinda with the pandemic, but it's not obvious; you would never hear it and think that.

Derek: Yeah, it is one that when we were sitting down to write that was like, I do want to take a nod to the time that we've spent away from ourselves and

from our identity as a band and getting into your feelings like with all this time away from normality and then back to the resurgence of it. So, you'll see bits of that in some of the new stuff but nothing too on the nose.

During this time away, there seems to have been a divide between those who have felt very inspired to write and be creative and those who haven't. Obviously, you guys have been very productive, but was that always the way?

Derek: Not always. There are definitely times where it's like, "Oh my God! How long is this gonna go because I don't have anything else in me?"

Tyler: There were times where I was like, "This is done. Life as we knew it is over. We're not gonna be able to play shows."

Derek: It's hard not to start thinking, "Yeah, the world is fucking ending." It's tough, but then you've got to bring yourself out of them out of the hole, get out of your comfort zone a little bit and turn it into a creative thing even though you can be down in the dumps about it or if you're in a weird place. Take it, making your own and run with it.

Tyler: We definitely have good support systems too. I had people in my ear being positive for me when I couldn't be.

Really couldn't have gone on without the people around us during the pandemic. P

STATE CHAMPS

Despite having not played a show in two years, State Champs show no sign of losing their championship title as they show off all their best party tunes.

Their bright but bruising pop-punk blasts of 'All You Are Is History' and 'Criminal' are met with the same enthusiasm as new single 'Just Sound' and brand new track 'Outta My Head', which is greeted with a circle pit of approval from the energetic crowd.

Upset 13

Riot.

SLAM DUNK Q&A

WHILE SHE SLEEPS While She Sleeps have ended up playing a few shows this summer, but none much bigger than headlining the Jagermeister Stage at Slam Dunk. The slot caps off a day of sets from Blood Youth, Loathe and fellow Sheff lads Malevolence, not to mention some of frontman Loz Taylor's heroes in Comeback Kid and Funeral For A Friend.

The band need that headline slot to give space for their gargantuan new album 'SLEEPS SOCIETY' which arrived in April alongside the launch of a Patreon scheme of the same name. The plan was to create a community for fans of the band, while ensuring a sustainable future for While She Sleeps.

Loz Taylor spills the beans on their upcoming shows, the success of the 'SLEEPS SOCIETY' and hot sauces in between sets at Slam Dunk.

You had some family down yesterday?

Family and friends, yeah. It got messy.

Did it make a difference having those people there for the show?

Yeah, it's nice, especially after the year everybody's had. You know, it's nice to be able to outside of the band environment. Friends and family are the ones that are so supportive when you're not on tour and, if it wasn't for family, I wouldn't be able to do this because I'd have had nowhere to live for so long. I wouldn't have been able to just take off on the road and have somewhere to be when I came back and all that sort of thing, so it's crucially important. It lets them have a wicked time being able to bring them here and have a few drinks and have a good time, and they get to see us play. So yeah, it was really nice.

At the shows since coming back, the crowds have been really pumped - all you have to do is shout "Sleeps

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WHILE SHE SLEEPS

Walking out to headline the Jagermeister Stage to cries of "Yorkshire! Yorkshire!" from the baying crowd, it only takes the cry of "SLEEPS SOCIETY" to send them into an absolute frenzy.

While She Sleeps' hour-long set is destined for bigger headline slots as Loz and co. finally bring their latest album to their home county. With many of his friends and family in the sweat-soaked crowd, the singer doesn't let them off the hook once as he constantly demands more from the audience willing to oblige him to the very end.

Society", and everyone loses their mind. Do you have the easiest job now when you come out?

No, not at all. I mean, it's the best feeling ever, and people are responsive to those songs in a positive way. Obviously, that's all any band member wants, and at any point, people singing words back to you that you've written is an amazing feeling.

I think more than that, almost the reason that I'm into this and have done it for most of my life now is the sense of community that goes with it. When I heard bands like Limp Bizkit and Slipknot and Soulfly and Linkin Park, Funeral For A Friend, it was about the community that went with it and having that relationship with people that were wearing the same hoody as you or you're both wearing a Korn hoodie. So, I think that's what's really special about the 'SLEEPS SOCIETY', and I think that's what feels so good walking out on stage and those lyrics for the new record.

It really feels like we've built something special.

Will it be the actual tour when you actually understand the new album?

Yeah, what's really crazy about the way we did it. We purposefully made our shows almost underplays, small capacity, because we were unsure about how things were going to get reopened.

So, we've got a lot of shows coming up. We're playing Leeds, for example, we're doing three nights at the Key Club, they'll be like small sweaty shows that'll really hold in the energy, but at the same time, there are only a few hundred people there so it'll be really special for everyone involved and it'll feel like a SLEEPS SOCIETY gig each night. Really intimate. It's going to be wicked.

And the show for the end of the year is going to be a special homecoming.

We haven't played a hometown show for four years - it's going to be cool.

And that line-up is sick as well.

Yeah, Malevolence are really tearing it up at the moment.

For anyone that doesn't know them, they're that like a true metal sound; they're fucking crushing it and good on them.

They've been a band as long as we have, and they're from

Sheffield as well, and people are starting to take notice.

I think it's deserving they crush it.

The plan was to create a community with 'SLEEPS SOCIETY', is it working?

I think so. I talk about the feeling I got from being young and getting into rock and metal and skateboarding and stuff like that, and I think, it's not exactly the same, but it definitely feels like there is a community there and the people inside the Sleeps Society that are paying that bit extra to support the band and being a bit more of a backbone for us, I think they're getting what they want. We keep repeatedly asking if they're happy because, at the end of the day, that communication is what's really important. We want to give them what they want, and everyone seems to be enjoying it.

However, they did suggest last week or the week before that we do a 'Hot Ones' episode, and so we were like "yeah, fuck it go on then." And, honestly, don't do it. I did it; my hands went fizzy, I couldn't feel my lips and teeth, I couldn't hear. I was driving home, and I had to pull over at the side of the motorway, literally on my hands and knees. It was absolutely brutal, so I hope the SOCIETY are happy. P

in their eyes. Overcoming some early bass problems to play the hits, the trio come across too cool to enjoy themselves.

"Congratulations for surviving COVID," Matt Skiba jokes, dryly, as they kick into 'Armageddon' and nobody laughs.

HOLDING ABSENCE

The nicest rock band around have no reason why they won't be headlining festivals in the next few years. Only a few months on from their second album, the plaudits have not stopped for Holding Absence, and as the evening descends, they

seize the opportunity to show off the best of 'The Greatest Mistake of My Life'.

BOSTON MANOR

They promise "no breathers" and duly deliver as they headline The Key Club Stage. New single 'Carbon Mono' comfortably stands shoulder to shoulder with 'Brand New Kids' and 'You, Me & the Class War' as tracks doused in white-hot anger. Rounding off with 'Halo', the Blackpool band are going from strength to strength and show no signs of slowing down.

THE NEW ALBUM ‘UMBRA’ OUT 27.08.2021 FEARLESSRECORDS.COM GRAYSCALEPA.COM

Riot.

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“WE KNOW WE’RE A HEAVY BAND, AND WE REALLY EMBRACED THAT” Florida hard rock quintet Wage War are back with their fourth full-length, 'Manic' - a record that might just be their best yet.

Words: Sam Taylor. Photos: Bryce Hall.

Upset 17

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lorida hard rock quintet Wage War are back with their fourth full-length, ‘Manic’. Pulled together against all the odds during the last year of adversity and upheaval, it’s a record they’re confident is “the best Wage War yet”. “’Manic’ encompasses everything we’ve gone through as musicians in the last year-and-a-half,” says drummer Stephen Kluesener. “The whole industry halted, and we technically lost our jobs.

Our scene was among the first to leave and the last to come back. The album captures the whole period.”

Rhythm guitarist and clean vocalist Cody Quistad adds: “’Mania’ is a wild emotion. The last year was all severe highs and lows. We had some victories, but we’ve also had so many low points.

We’ve built this thing for the last 10 years and put all of our chips into it.

We’ve missed birthdays and funerals, but we’ve done some extraordinary things. Last year, we found ourselves wondering if it would ever come back.

That’s really what the album is about.”

Arriving ahead of a UK support tour with I Prevail booked in for next year, it’s a record that could well mark a real step up for the group. Cody tells us more.

Hello Cody! Welcome back. How’s it going?

What are you doing today?

I’m doing great, hopefully about to watch my Tampa Bay Lightning take the Stanley Cup back to back.

What’ve you all been up to since ‘Pressure’? Any major life developments?

Honestly, just utilising this required time off the best we can. Spending time with our loved ones and trying to come back the best version of ourselves possible. A couple of the

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boys got married, which is awesome… and oh yeah, we made the best Wage record to date.

it harnesses a lot of the energy and production that is displayed throughout the album.

How have you all found the past year or so of lockdowns and restrictions? Have you had any downtime to fill with new hobbies or the like?

Definitely a bummer of a time for someone like me who thrives around people, but we made it work. Me and my crew in Spring Hill took up baseball, barbecuing, fishing, and kayaking.

What lyrical themes does the record cover?

Where did you look for inspiration?

The album is all based around headspaces and experiences from last year.

I always look at albums like yearbooks, and this album is exactly that.

When did you start work on your new album?

I think I started the record August 2019 right around the time ‘Pressure’ came out. I’m kind of a workaholic, so I try to stay writing and inspired.

Did you have anything specific you set out to achieve with this one?

Same goal as always to write the best songs we’re capable of. I’ve said this before, we know we’re a heavy band, and that will never cease to exist, and I think we really embraced that in how we approached songs. The vocals are always the most important part to me, but making sure it’s wrapped up in the right package is half the battle. Also, tried to take it to 10 on riffs.

How has your process of creating and releasing an album changed since your debut? Does it feel very different?

We’ve kind of always had the same process. I write and demo out a majority of the songs and bring them to the guys and then get everyone’s input until we have something we’re all fired up about.

What can you tell us about how the new one sounds, is ‘High Horse’ representative of the general vibe?

I would say that it is; I think

Did you hit upon any unexpected challenges when putting it together?

Pandemic aside, of course.

We definitely did. We all live in different cities now, so that’s kind of a new challenge, and then we did this album a little different.

We did split up the album between producers. We did six songs with Drew Fulk and five songs with Jeremy McKinnon and Andrew Wade, which was an awesome experience but definitely a new one.

What would be the best compliment someone could give you upon listening to the album?

At the end of the day, we just like writing music people can relate to. If someone can listen to this record and feel like they got something out of it or

maybe feel like they’re not alone in whatever they’re going through, that’s a big win to me. On the musical side, I hope that people can’t help but make stank faces and can’t help but headbang because I feel like the riff is just endless!

Haha How are you set up for live dates? Are you touring?

Yes! We’ve got a lot planned for next year.

Making up for lost time! As far as what’s announced at the moment. We’re heading in the States with Beartooth as well as a couple festivals; we’ve got Shiprocked top of next year, and then headed out with our BOYS in I Prevail are headed out in UK/ Europe in the spring!

Is there anything else we should know?

We’re just so thankful for everyone that’s supported us this far. It’s not something we will ever take for granted, especially after this year. We made a record we are so proud of and one I think they will be proud of too. The best is yet to come. We’ll see y’all soon! P Wage War’s album ‘Manic’ is out 1st October.

New album out digitally out now!

LP/CD out October 8 Thrice.net - Epitaph.com

Riot.

READING

2021 Time to let loose, Reading Festival's return is once again a highlight of summer.

Words: Ali Shutler, Finlay Holden, Liam Konemann, Jake Hawkes.

Photos: Frances Beach, Jamie MacMillan, Patrick Gunning.

I

t's been a while, Reading Festival.

With 2020's edition cancelled for 'obvious reasons', it's been two years since the last time thousands upon thousands of music fans descended on Little John's Farm for a Bank Holiday weekend of the best new bands. Back in 2019 we were here for the likes of Twenty One Pilots and The 1975 for an edition which felt like it hinted at a brave new future. This time around, that promise seems

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different, but perhaps even sweeter.

While Reading 2021 may see its line-up restricted by travel restrictions and logistics, a bill which - in the most part - focuses on domestic talent doesn't mean punches pulled. Just the fact that events this big can go ahead, given everything the live music scene has been through, is somewhat miraculous, Over the course of three days, we're introduced to new icons in waiting,

upstarts getting ready to grasp their chance, and established names who have spent 18 months spinning their wheels, waiting to get back out of the blocks.

On both sides of the divide, the excitement is palpable.

Over the next few pages, we'll run you through some of the best and most important sets from across the weekend.

Let's hope we never have to wait this long again.

YUNGBLUD

What can you say about Yungblud that hasn't already been said. By Yungblud. Loud, proud and unafraid of a swear or two (37 fucks, 1 cunt, in case you were counting, tabloid outrage merchants), our Dom was made for the biggest of stages.

Wrapped in a sense of oh-so-now outrage at a world stacked against his generation, to call Yungblud a straight-down-the-line-punk would be ridiculous. He isn't. But then there's nothing punk about staying scared within your fragile genre box either. He's a pop star that doesn't give a fuck about going against the grain - a talent that ironically means he more often then not ends up leading a charge. Today is no different. While it's perhaps perverse to suggest a major label, chart ready concern can be in any way rebellious - Yungblud could be the exception that proves the rule.

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BOSTON MANOR

Blackpool rock outfit Boston Manor blow off some steam on the Lock-Up stage with new material like recent single 'Carbon Mono' being designed to provide an involving live experience.

Finally getting under the skin of their lockdown LP 'Glue', frontman Henry Cox's desperate performance makes these heavy tracks hard to ignore.

FRANK CARTER

AND THE RATTLESNAKES

Men called Frank are an established staple of Reading & Leeds.

If it's not Mr Turner appearing, it's got to be Frank Carter in one of his many celebrated guises.

Indeed, The Rattlesnakes are fast establishing themselves as a must see tradition. From getting up close and personal with the crowd to belting out riffs the size of the biggest tents, this is exactly what we've all been missing so much. A moment that proves just how good it is to be back.

WARGASM

Despite a mid-afternoon slot, Wargasm barrel on stage with as much energy as a headline act, with festival attendees pushing and shoving to get through to the front.

Each track has an instant response that roughly follows the pattern of: lots of cheering, followed by a huge mosh pit for the duration.

“Who the fuck knows who we are?!” Sam screams, to an even bigger response than they’re already getting. “Wow, this is like our first year at a festival,” he says with a grin, before diving into yet another banger. Right on cue, the crowd turns into a seething mass and doesn't stop moving

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IDKHOW READING 2021 INTERVIEW

I Don't Know How But They Found Me are an act out of time that cemented their place with 2020's debut LP 'RAZZMATAZZ'. Now busier than ever, the larger than life duo bring their vintage pop groove to the Reading & Leeds' Main Stage - with just enough time for a headline show at Glasgow's SWG3.

"We just had a hell of a time actually getting there," frontman Dallon Weekes explains. "Missed flights, 12-hour layovers, and when we finally did arrive, three bass amps all blew up one after the other. Every hitch that you could possibly hit, we did hit. We managed to make the show happen, and, regardless of all that stuff, it's fun, and I wouldn't trade it for the world." In comparison, the chance to play the UK's biggest summer festival, "feels like a vacation. A day on the beach."

Drummer Ryan Seaman agrees wholeheartedly: "We needed this."

This would not necessarily be the case in normal circumstances – miraculously, a potential whirlwind of pressure has been completely side-stepped. "Usually, there's a lot of anxiety because you're playing for a crowd that isn't necessarily all yours; you've got to make an effort to win people over," Dallon says. "After the whole debacle

of actually getting here, we're far beyond being concerned with anything like that. We just want to get out there and have fun, and that's exactly what we did."

Fun certainly seems to be the key word for iDKHOW. If something isn't fun and enjoyable, it's not going to be part of this project for long. Indeed, their success is a result of detailed craftsmanship while forging not only a solid album but a thematic experience that has entire subreddits theorising over a deeper, hidden meaning teased by the band's self-curated storyline. On this, the frontman says that, "presenting our songs in that way just adds an extra layer of entertainment for those who care to dive into it. If you don't care to dive into it, the songs are there to stand on their own."

"Concepts can make a record fun, but it's totally okay to just have a solid collection of songs, too," Ryan jumps in. "Especially because today, services like Apple Music and Spotify make it harder for bands to survive from crafting a full album experience."

The decision to set their band decades in the past through this constructed narrative stems from the duo's fondness for the music scene in the late 70s and

early 80s. "There was a DIY explosion happening at that time that opened up the gates for all sorts of people to make music that probably couldn't have beforehand," Dallon details. "That whole ethic of DIY was something that was the genesis of creativity for that era, and we really appreciate that."

The current decade of industry progression has been a far more daunting genesis for music creatives, with the medium moving the majority of its business online. "That's not something that scares us because if you're willing to adapt, then you will survive," Dallon remarks. "As long as you're not compromising your artistic vision or stomping on those sensibilities then you'll be fine. You can't fight technology; you have to adapt."

Though the pair are still defining their own success story and are unsure of where the future of iDKHOW will take them, Dallon concludes that "the worst day on tour is better than the best day at any other job," and passionately says that just having an audience that pays for him to have a shower after each set is enough for him.

On future desires, Ryan builds on this: "I'm gonna set the bar a little higher and ask for a bath." P

until the end of the set.

Not only is it a storming festival appearance, but it’s also a hell of a workout for anyone in the front 10 rows.

BOB VYLAN

Draped in a Union Flag and making lyrical reference to Nat Turner, leader of an 1831 slave rebellion in Virginia, Bob Vylan aren’t here to be coy. They use their high energy grime / punk crossover as a vehicle for swipes at racism and prejudice in the UK – at one point singer Bobby Vylan crowdsurfs while screaming ‘You want your country back? / Shut the fuck up’ over and over again. Between tracks he gets even more to the point and shouts “kill the fucking Queen, she killed Diana!”

It’s not exactly subtle stuff, but it hits you like a sledgehammer and generates more than a few circle pits, so maybe subtle is overrated.

IDKHOW

iDKHOW flex smooth vocals and a naturally dramatic sonic aura with a luxurious listening experience proving that these two former members of big bands should have had the limelight from the get go.

Groovy and glamorous pop-rock (ish) ensues, mainly from their debut LP 'Razzmatazz' but vocally wailing new material suggests future set centrepieces are also in the works. A luxurious listening experience akin to hearing colour, this duo are now free to take whatever creative steps they choose - thankfully, they choose a bold and satisfying direction sure to normalise a retro glamour.

KENNY HOOPLA

Pop-punk may well be the hottest musical form on the planet right now.

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NOVA TWINS READING 2021 INTERVIEW

Punk duo Nova Twins have had as gutting a year as any – after releasing their debut LP 'Who Are The Girls?' back in February 2020, they had a brief stint of shows to show the tracks off to the world, before... well, you know.

"It was a weird time with mixed emotions," vocalist and guitarist Amy Love recalls.

"Everything was already starting to shut down while we were on tour, so we were really excited to play ['Who Are The Girls?'], but as the gigs went on, people were getting warned that the country was going to get shut down while we were in France."

"We were driving to our next gig, then we'd be told to stop, then the next minute we were on the road again… then finally we were all sent home," bassist Georgia South describes as if it were yesterday. Looking around at the chaos and energy

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surrounding 2021's return to Reading Festival, she quickly cheers up. "We missed the whole festival season for our first album, so it feels extra special to be here now. We're really looking forward to playing today's show with all our album material."

Nova Twins' debut is the culmination of years of hard graft, following on from numerous EPs, single releases and live shows. "We didn't really know what we were doing," Amy admits. "We had a very punk approach; just record and release anything that we want. There were no cycles; we just did anything we wanted at that time.

Eventually, people said, okay, now is the time; we want an album. Our team grew around that time, and we've loved the journey."

Since 2016, the Londonbased revolutionaries have taken a very DIY approach to

their music, taking complete control of and responsibility for each creative choice.

"We've always had to navigate the industry differently anyway with the music that we make and the people that we are," Amy considers. "We thought, it's taken us this long to get here, let's make sure we do things how we actually want to do them. Why would you want to compromise? What is the point?"

Although the pair decidedly value their own opinions above any outsiders, they love to involve one group of people: the listeners. "You have to be able to play the music that you want to play, but considering the emotions of the fans can help guide that," Amy offers.

"A lot of artists say they didn't sign up for the attention; they didn't sign up to be a role model," she observes.

"Whether you signed up for

it or not, that's what you are.

You have to embrace that responsibility and make sure whatever you're putting out there is positive; be aware of who you're directing stuff to."

Taking a strong social media stance and making their live return at community festival Love Music Hate Racism, these are clearly not just empty words. "Diversity is really important for our shows; we want people to feel accepted wherever they are," Georgia declares.

Having experienced a lack of this support in her own circumstances, Amy adds: "It's a way for us to kick back against some of the stuff we've had to go through. We wanted to make an album that celebrates everybody who's not in the 'cool club'.

"I always think of my family first," she asserts. "We've got a lot of strong women, people who teach us how to be women and how to best present ourselves. These people taught us, 'don't take shit'."

So, now bringing their ambition and passion to Reading, how are they finding the experience of finally entering a post-lockdown world? Georgia summarises the circumstances in just two words. "Crazy. Hectic." She gestures at the movement unfolding around her and, with a joyful grin, expresses: "This doesn't even look real." P

Crossing over with the mainstream left, right and Travis Barker, KennyHoopla is nothing if not a poster boy in waiting. A constantly moving elemental force, while others may feel like they're borrowing a vibe to fit in with a trending topic, for Kenny it's real. As shows start up and tours begin, expect his to be a name that quickly appears in bigger and brighter lights.

A generational talent.

LOATHE

Liverpool five-piece Loathe today mark their first appearance at a festival not dedicated to their niche, and their own brand of heavy metal delights a whirling crowd at The Pit. Guttural vocals, bright lights and thundering guitars are enforced while this electrifying outfit pull on classic influences to summon their own mountain ranger of riffs.

An outstanding percussive show makes for a headbang fest leading to inevitable neck-ache, and a shouting contest between band members adds to the melodic drawl giving Loathe's refreshing set a new appeal.

WATERPARKS

A set two years in the waiting that somehow also takes place with just two days notice, Waterparks take the headline slot at The Pit in their stride. It might be their first IRL show since ‘all that’, but you’d hardly notice. And they’re everything you want, expect and more.

Awsten animatedly chatters away between songs like you’ve just popped round for a biscuit, Geoff bounces and twirls all night and Otto sits in the dark. It’s a breathless dash through the greatest bits of Greatest Hits, giving the crowd what Awsten calls ‘the dopest whiplash’ we’ve ever had. Slamming from ‘Numb’ through to ‘See You In The Future’, (there’s probably a clever analogy in there but it’s early and it’s Day 3), it feels like a teaser

for what’s to come in the following weeks and months. For now though, this was pretty much perfect.

HOT MILK

Hot Milk have been on the verge of something big for a while now. As they open Reading's big stages on the final day of the festival, they achieve the impossible - an actual reaction. So often the slot reserved for bleary eyes and hungover expressions, Han and co have other things in mind. A band blessed with genuine star power already, their rise is going to be nothing short of meteoric.

WOLF ALICE

With a Latitude headline slot ticked off the bucket list, Wolf Alice may not be topping the bill at Reading 2021, but they damn well should be. That last jump for Britain's best band can only be round the corner on the strength of most recent album 'Blue Weekend'.

From the anthemic rise of 'Bros' to the huge riff of 'Giant Peach', the back catalogue has everything needed to close out the biggest festivals too.

There's nothing left to prove for Wolf Alice - it's just a matter of time now.

We can't wait.

BIFFY CLYRO

There was a time when Biffy Clyro being given the keys to a Reading & Leeds headline slot actually felt exciting and fresh. A gamble even.

Those days may be long behind us, but the Biff's dependability is for from a weakness. Massive riffs, bags of pyro and a extensive back catalogue of legitimately anthemic hits show that - while old uncle Liam may close down Reading 2021, Biffy Clyro can match any indie grandad blow for blow. P

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CHERYM'S guide to Derry. to new places has We all love to travel - especially after more than a year where heading Cherym to give upstarts new hot enlisted we've why been somewhat of a challenge. That's in their places favourite their of some around you - our dear readers - a quick run us. on nothing has sor Tripadvi hometown of Derry.

The Craft Village is a plac e we' ve all hung around as teenagers , whether it was going into the Pickled Duc k for a coffee (when it was up there) or just having a sne aky bottle of cack. It holds a lot of nostalgia for me and I cou ldn' t help but reminisce on tho se memories while doing this photoshoot . The craft Vill age today is home to some of Derry's finest such as Sas s And Halo, Han Clothing and Blue Moon.

Derry doesn't have a lot of bars that can cater to bands coming from all around the country and/or the world, but Sandinos has it. They have an incredible nightclub that is just waiting for anyone who is up for the opportunity. Cher ym have played there on multiple occasions and every time, the craic was great, the company was great and we got to make some historical memories for Cher ym in there. So whether it's just a quick pint or seeing some high- quality enter tainment, Sandinos will sort you out.

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The Yellow Yard is a clas s wee store in Derry that is great if you love any thin g from vintage clothes and uniq ue gifts to books and vinyl.

“The Plot Thickens Bookshop” is just one par t of this stor e selling mainly second-ha nd books from history to fict ion to classic literature as wel l as their record shop “Abbaz appa”, selling over 12,000 record s from every genre you can think of, whether it’s a rec ord or a band tee, you’ll find it here! The store has a ver y welcoming vibe and put s sustainability, fair trade and up- cycling to the forefron t for everyone. If you’re looking for an eccentric gift for a frie nd or just to add to your collect ion of badges , patches and stic kers, Yellow Yard has got ye sor ted .

to go The Bowling Alley is a really good place out or just if you are looking for a family fun day 24 lanes of some lunch with friends. It features urant, bowling, a kids play area, a bar and resta s in the a cafe and a cinema. You can play game one of the arcade one change for tickets and it's itself.

Derry in s ction attra ent tainm enter main ts! even and es parti for ideal and fun It's great

Cherym's EP 'Hey Tori' is out 1st October.

They tour the UK from 6th October.

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IN THE COURT OF THE DRAGON

THE BRAND NEW ALBUM Featuring ‘Feast of Fire’ & ‘In the Court of the Dragon’

COMING 8TH OCTOBER PRE-ORDER NOW

TRIVIUM.ORG

•

ROADRUNNERRECORDS.CO.UK

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YOURS,

SINCERELY

With a new label deal and a new album, Sincere Engineer are breaking out of Chicago with their wry take on pop-punk.

Words: Rob Mair.

Photo: Katie Hovland.

"I

really don't like dogs," laughs Sincere Engineer's Deanna Belos.

"I think they're gross and loud.

But I love how mad people get when you're on stage and say you don't like dogs. It's like you've murdered somebody.

I love saying stuff like that to see how mad people get over stupid things."

Deanna Belos has something of a reputation for awkward stage banter, but doubling down on a dislike of man's best friend in the middle of Florida's punk rock mecca Fest is a whole other level of awkward – and having witnessed said patter first-hand, the results were just as funny as Deanna attests.

Yet such anecdotes tally perfectly with Sincere Engineer's lyrics, which push self-deprecating humour to the fore, even if they mask some serious themes. For example, 'Trust Me, the lead single and opening track from second album 'Bless My Psyche', blasts into life with the line, "This is my grand introduction, I'm lying face down in the street, for the second time this week." Deliberately placed, it’s a bold hello to all the new listeners the band have picked up thanks to the enormous jump in profile following their switch from DIY stalwarts Red Scare to punk rock institution Hopeless Records.

Like The Beths' 'Future Me Hates Me', 'Trust Me' also contains a knowing nod to self-control and regretting

future decisions. "I put too much trust in future me, but she can't be trusted, please trust me, everything she says is such a lie," sings Deanna, acknowledging that bad choices lie just around the corner – especially when she just wants to go outside and ride her bike.

For Deanna, such observations come from the difficulty of juggling a band and a day job in animal welfare and relying on yourself to make good decisions, so you don't get burned out or do both jobs to a poor standard.

"I feel like I joke about everything, but with this record, I had an exhausted, overworked mindset, and I think that carried over," she says.

"I work on music stuff in

meaning it's been nearly four full years between albums.

While Sincere Engineer have toured solidly in the intervening years – including a mid-afternoon sell-out at Fest's 450 capacity High Dive – four years is still a considerable wait for a new album.

"The pandemic has definitely added a year," considers Deanna. "And it has been hard to juggle the day job. I feel like I've been flying by the seat of my pants when it comes to the business of the band," she laughs. "I wanted to be a dentist, but I didn't get into dentistry school, and I had no intention of doing this.

But all of that's part of it [the four-year wait], because I've not had anyone pressuring me to put out a record, so I could

“I love how mad people get when you're on stage and say you don't like dogs” Deanna Belos my free time, but the hours for my day job are six til' two, so when I come home, I'll eat some dinner, and even though I'm super tired, at the back of my mind there's this thought going about, 'Well, I have this music thing, and I want to do that, too'. So, it's about fighting through the exhaustion to get what you want, and not just working for The Man." The beauty of moving into the punk rock big league is that Deanna might soon have far more time on her hands to devote to music as the band continues to grow in stature.

However, throw in a pandemic, and it has been far from an overnight success for the group. Debut 'Rhombithian' arrived in October 2017 –

really take my time over it."

The results speak for themselves, too. If 'Rhombithian' was a brilliant but occasionally messy debut, then 'Bless My Psyche' is a fully-realised return, with sharper hooks and softer edges. Moreover, it builds on the success of the debut, stretching Sincere Engineer's sound, particularly in the first half, before delivering poppunk hit after pop-punk hit during the second.

There's also a liberal sprinkling of punk rock royalty throughout, with The Hold Steady's Franz Nicolay adding keys to several tracks, which helps to add depth and heft to Sincere Engineer's buzzing Midwest punk sound.

Such collaboration only came about after Sincere Engineer supported The Hold Steady in Chicago, with Franz offering up his skills should Deanna ever think they would be useful. "He heard we had a record coming, said if we wanted him to play on it to let him know, and that was it," says Deanna.

"He's a genius, though," she continues. "I originally just asked asking him to do a couple of songs but told him to listen to the whole album and just to do what he thought would fit, and he killed it."

While clearly humbled by Franz's involvement – and in appreciating his ability to tune into what's needed and not become the star of the show – in her acknowledgement, Deanna taps into the Midwestern trait of being enormously modest.

It's a similar story elsewhere – whether discussing the support of the wider Chicago scene or the input of her bandmates. In both cases, Deanna is warmly appreciative of the help she's received along the way. "When I started, I didn't have a clue what I was doing, but everyone was so supportive, and they didn't need to be," she says of the Windy City's famed punk scene. Or, perhaps more pertinently, when discussing her bandmates, she'll lavish praise on them for their 'professional' musical background while joking that she's just the "Idiot who writes the songs."

Of course, while it's an entirely self-effacing response, it does provide an insight into the mindset of Deanna – even if it doesn't do any kind of justice to just how great her songwriting is. What it does prove, however, is that there's nothing false about this Sincere Engineer… P Sincere Engineer's album 'Bless My Psyche' is out now.

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Oxymorrons are teasing a new EP with their latest single 'Django'.

The track is the third taken from their upcoming ‘Mohawks & Durags’ EP, set for release on 20th September via 333 Wreckords Crew, following on from 'Justice' and 'Green Vision'. "'Django' is not only our tribute to 90s hip-hop and rock," they explain, "it’s an unapologetic celebration of our melanin."

Biffy Clyro have a new project, 'The Myth of the Happily Ever After', on the way. The cheerilytitled work was inspired by "the turmoil of the past year", and is set for release on 22nd October.

“This is a reaction to [recent album] ‘A Celebration of Endings’,” says vocalist / guitarist Simon Neil. “This album is a real journey, a collision of every thought and emotion we’ve had over the past eighteen months."

The Driver Era have announced their second album, 'Girlfriend'.

The alt-pop duo - brothers Ross and Rocky Lynch - will follow up their 2019 debut 'X' on 15th October. They've also shared another early teaser in the form of single '#1 Fan', which comes after recent drop 'Heaven Angel'. Catch the band on tour early next year.

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HOT MILK TRACK X TRACK

I JUST WANNA KNOW WHAT HAPPENS WHEN I'M DEAD EP Everyone's fave new band Hot Milk are back with a new EP - Han and Jim talk us through it, track by track.

Photo: Paul Harries.

I JUST WANNA KNOW WHAT HAPPENS WHEN I'M DEAD Han: Right. This is where it all started. A conglomeration of existential, nihilistic dread and our love of drum and bass. It needed to be angry, in your face and a reflection of what we were really truly feeling. For us, this song just encapsulated how we were feelin' at the time... we wrote it way before the panny d, which is weird considering the chorus literally says "livin' in an epidemic in my head"... bare foresight from your mates in Hot Milk.

WOOZY Jim: Goddd this ones about all the dramas of being in your own head.. like a bit of a prison. Han was on antidepressants that made her just feel absolutely nothing and would give her this weird coming up feeling all the time... she was a nightmare to do anything

with coz she always felt woozy. I was going through a bit of an anti-social period of my life; I wanted to be away from everyone and didn't really understand how to speak to people about it. So in true Hot Milk fashion, we became each other therapists and wrote a bloody song about it.

THE GOOD LIFE Han: A GODDAMN PROTEST SONG. This is where the existential fuckin' breakdown turns outward to thinking about the world... the song is kind of Orwellian like that.

There's a lyric that goes, "All your bread and circus dreams, romanticise about a retrospective regime, slowly lose your appetite, as your forced to feed on the morals of a soundbite"...

I just fuckin' hate the world we've made, ya know? This is my observational manifesto on that and my favourite to play live. I'm gonna lose me marbles.

I THINK I HATE MYSELF Jim: Too much time in our own heads and trying to calm the inner shit storm that came in tandem with

isolation. Going from such a hard and fast lifestyle to house arrest was a massive shock to the system and gave us a lot of time to think. The chorus came on a particularly moody Tuesday afternoon, after weeks of zero motivation and lack of creativity. It was the spark we needed to finish off the rest of the EP. SPLIT PERSONALITY Han: We wrote this one a week before the EP was recorded. We were drinking wine and white claw in my studio, listening to Pendulum and The Prodigy... and thought fuck it, we LOVE these bands, what if we took that same energy and made it Hot Milk? It's become pretty much everyone's fave in the band, and it's our heaviest yet, but we adore this side of us... and honestly, I think this could be more in the future of our band just coz it comes much more naturally, especially coz I am an angry human who likes to mooooooooove bbyyyyyyy. P Hot Milk's EP 'I Just Wanna Know What Happens When I'm Dead' is out now.

Upset 33

About Break. to

BLEACH LAB With that organic, dreamy edge, Bleach Lab are more than capable of drawing comparisons to Wolf Alice - there's no bigger plaudit than that.

NEW TALENT YOU NEED TO KNOW

ONE STEP CLOSER A band called One Step Closer in a section called About To Break? Make your own jokes.

Words: Rob Mair. Photo: Spencer Chaimberlain.

34 Upset

MRLEY With addictive debut single 'My Side Of London' arriving over the summer, south-east London's Marley Rutherford - aka Mrley is a fresh new voice in punk.

ENOLA GAY Northern Irish four piece Enola Gay know how to make a glorious racket. Somewhere between the punk stylings of IDLES and My Bloody Valentine - they're great.

"T

he whole record is sad lyrically," considers One Step Closer's Ryan Savitski while discussing his band's debut full length 'This Place You Know', a comingof-age record about finding yourself disconnected from your hometown.

"It's like when you've grown up in this small town your entire life, and you reach a point where it doesn't feel like home anymore. And every time we get back from tour, I feel sad, and I just want to be somewhere else – that theme is running through the entire record."

In the case of One Step Closer, home is Wilkes-Barre, Pennsylvania, a blue-collar working town that built its fortune on mining, but which has seen better days.

However, it's also been home to a thriving hardcore scene for nearly 20 years, birthing bands like Title Fight (who hail from neighbouring Kingston and who defined the sound of hardcore for a generation), Cold World and Bad Seed. One Step Closer are the latest to assume the mantle, marrying classic DC emo with youth crew passion and late 90s melodic hardcore approachability to create a sound inspired by hardcore's past but beholden to no single scene.

Appropriately enough, One Step Closer (completed by guitarists Grady Allen and Ross Thompson, drummer Tommy Norton and bassist Brian Talipan) mine the rich seam of hometown relationships on 'This Place You Know'. Sure, such a trope is manna from hardcore heaven, having served as a constant source of inspiration for genre bands for decades.

Whether it's New York bands

talking about life on the streets or Florida punks bemoaning the "Gainesville eye", it's a wellworn path, yet for One Step Closer, it all runs a little deeper thanks to the context.

This is especially true on 'Hereafter', the album's slowest, saddest number, and a track with barely a passing resemblance to hardcore.

Originally written as an instrumental interlude, Savitski penned lyrics to fit the tune following his grandmother's passing – and her presence is something that can be felt throughout the record.

"At the time we were writing it, my grandmother was struggling with cancer, and my family was crushed by that, so coming home meant I had to keep facing the sad aspects of this place," says Savitski.

whenever I was home, so I was very happy the band was on board with that."

While 'Hereafter' takes the band deep into indie-rock territory – and to stunning effect, too – elsewhere, 'This Place You Know' is all about the hardcore, and what it does perfectly is pull all the disparate strands of One Step Closer's influences together to take 90s style melodic hardcore spin-kicking into the 21st century.

Yet even in the codified strata of hardcore, such ambition meant the group have had to stop secondguessing themselves and the expectations put on them to make the record they wanted.

"When we put out 'From Me To You', that was us saying 'OK, we want to put out some

“The whole record is sad” Ryan Savitski "But that song reflects our desire to push the boundaries and to see what we can make.

I remember, I was on my way home from Connecticut to go to her funeral, and I was listening to the instrumental of that song, and I was like, 'I need to write lyrics to that right now because it just feels right.' It's one of my favourite songs on the record because it holds a lot of sentimental value.

"And also, I'm thankful the band were so receptive to the idea. They knew my grandma had been bad with cancer for two or three years, so they were there with me through the whole thing, and they knew the relationship I had with them. Like, my grandparents lived a block over, so I'd see them four or five times a week

more melodic emo-type stuff, because that's what we love," says Savitski. "And at the time, we were like, 'Let's not hold anything back'. But then, I still think we held something back because we'd be asking ourselves, 'Is this hardcore enough?'

"We were worried people would think it was too emo sounding, but I think we got a good balance. And although we saw that people reacted positively to that, we also didn't want to just make the same record twice. So, hopefully, this isn't too far out of the wheelhouse of the last record, but people also recognise it as a step forward."

What's undeniably hardcore is releasing a record on the bonafide bastion of the scene,

Revelation. Formed in 1987 and home to the likes of Gorilla Biscuits, Youth of Today and Judge, it's the de facto stamp of approval on any band associated with the youth crew or Straight Edge movements (Savitski himself is Straight Edge). And, while 'This Place You Know' is officially released through Run For Cover, the group cut a deal for a pressing via Revelation, as well as additional variants through old label Triple B and tastemakers Brooklyn Vegan, amongst others. But, understandably, getting some hot wax on Revelation's trademark yellow/ gold vinyl was most appealing to Savitski.

"I'm just happy that people were psyched enough on the record that they'd want to do exclusives," he laughs. "But yeah, when we were talking about it, I brought up Rev, and it turned out they'd already reached out to Run For Cover.

I was so stoked; like a Rev gold record – it's so cool. Everyone was hyped.

"And the fact that the people who wanted to do the other exclusives are people that support us. It felt good that they were willing to do this."

Ultimately, such backing from scene elders shows just how successfully One Step Closer have married the past and the present of the hardcore world. In a genre forever preoccupied with looking back and pointing at former high watermarks, few new acts ever ascend to the levels of scene godheads.

With 'This Place You Know', One Step Closer have given themselves more than a fighting chance of bucking that trend… P One Step Closer's debut album 'This Place You Know' is out 24th September.

Upset 35

Long established at the head of their scene, it's time for Employed To Serve to plant their flag. And haven't they just? With their new album 'Conquering', nothing more needs to be said. But let's try anyway...

Words: Steven Loftin.

Photos: Sarah Louise Bennett.

36 Upset

Upset 37

A

mbition is the order of the day for Employed To Serve.

Having made waves as a chaotic blend of hardcore and metal, now that pulverising blend is being tuned in on their fourth outing, 'Conquering', the five-piece are striking their flag into the ground. The dial on the figurative radio is meticulously focused, hellbent on finding the definitive Employed to Serve sound.

Certainly, the a-word is no stranger to the groups of 2021. Everyone wants to go big or go home, especially after waiting so long to prove themselves.

However, Employed To Serve were already more ambitious than they realised.

Going from being a simple two-piece of Justine Jones and partner (now husband) guitarist Sammy Urwin to a band nearly a decade old takes more than drive: it takes passion and a love of the game. Already having three albums under their belts, only now deciding to harness their chaotic undertow means, really, no one stands a chance.

"We made a concerted effort to make this our statement record," starts vocalist Justine. "It's our fourth album now, and during this cycle, we'll hit our tenth year as a band.

And by that point, when you spend every waking moment working on something, you want it to succeed and get bigger. So, that's what we tried to do with this record, and I feel like it's definitely our best material. It's definitely my favourite album that we've done."

In the past, when bands have focused upon trying to go for glory, they were often tarred and feathered 38 Upset

with two words: selling out.

It's less of a problem during a time when it can be more challenging than ever for bands to be viable.

"That's a thing of the past now because it's cool to care about your art. I hate the whole, 'I'm punk I don't care about my gear.

Everything breaks, but it's cool'," Justine says, her eyes rolling.

"We like to spend time and effort on getting good gear. We like to spend time on our songs; we like to spend time promoting ourselves because we spend so much of our time on this. It'd be rubbish to be like, 'No, we don't want that many people to listen to it because it's not cool'."

There's a difference between trying to reach your potential than say, taking a look at the charts and pivoting to whatever's hot. It's all about staying true to yourself, no matter how cliché that may sound.

'Conquering', Justine explains, is a combination of everything they love about music and wanting to be the best band they can be. Inherently music nerds - Justine and Sammy, along with guitarist Davi Porter, bassist Nathan Pryor, and drummer Casey McHale - it's their special bond with the wondrous beast that means they're able to harness their own wild-eyed fury. Insisting that they're "still very much us", one of the biggest inspirations for 'Conquering', musically at least, stems from the hallowed Roadrunner Records roster of the early 00s: Machine Head, Slipknot et al. Touchstones sparkling like diamonds amongst the vicious rough, on what it was about these bands, and this time, that imprinted heavily on Justine and the rest of ETS, it's one word that often

applies to the band itself: "rawness."

"It was just so weird.

It was really heavy, aggressive, raw but at the same time really catchy and at some points bouncing in terms of groove," Justine reckons. "It was something that always pulled you in just because it's really

heavy but still has that song structure where the chorus has the hook that you're like, 'Oh, I know this bit I can participate'. Like loads of Slipknot songs, immediately on my first listen, I want to listen to it again. That's really hard to do in heavy music because you don't have the luxury

“We made a concerted effort to make this our statement record” Justine Jones

of being a pop artist with a nice sounding synth. It's quite an art for bands like that to do it, to be honest."

Written during the height of summertime lockdown, those endless hazy days of naivety and fear, and recorded during the even longer winter lockdown, these dualities

are the perfect colliding metaphor for 'Conquering' and its intentions especially given its oddly positive birth.

Emphasising that they were "so prepared" thanks to the bittersweet notion of no touring, this extra focus and all the waiting around leaned into their meticulous plan of attack. Though, all that time off also came with a downside.

"I had the typical vocalist thing where I blew my voice out!" she laughs.

"Going from not doing vocals for like a year to five or six hours of vocals in a day is just a recipe for disaster. I ended up going back during January each weekend, and that was quite nice, actually. I quite enjoyed it. The motorways were absolutely dead, which is quite weird."

Eventually, they emerged from the success of their lockdown amidst those dystopian times we lived through, holding their trophy 'Conquering' aloft. There's a fraught, fractious ferocity but also an embracing of metal's intricacies, not to mention singalong moments meant to rouse and rile ('Exist').

Even Sammy is stepping up to the mic for some clean

and studious vocals on 'Mark of The Grave'.

These singalong moments and war cry call-and-responses feel even more prevalent, and it makes total sense. When you're readying the cavalry to roll out, you need to give the people something to get involved in.

"As a performance, that's actually my favourite thing in the world," Justine smiles. "I love all of our scattered stuff, and I feel like it is still present in this new record. We have blast beats and deep beats, we have all of that, but it's just a bit more polished."

In this new chapter, they're going for gold.

They know that keeping the troops inspired is most important, so letting some of that older, more frenzied material make way for this richer, focused output is key.

"Our more mathy stuff on the first record just won't sound good in a big venue.

It's just all over the place, and there's no punching through," she says, eyes focusing on their upcoming tour with Gojira, which sees them take on arenas around the UK and Europe. "That's just not the kind of band we are anymore."

Mentioning that the older stuff still works well when "playing floor shows and things like that", it'll always hold a special place in their hearts. But, to borrow the title of their third outing, it's all about eternal forward motion.

"The first album is always the tester, really. We just found what clicks, and for us, it's the more swervy, groovy vessel that we do now."

E

mployed To Serve is just one part of Justine and Sammy's story.

Following the closure of Holy Roar Records last year, they signed several of the label's previous acts to what was once a small sideproject for the pair, their own Church Road Records.

Inking speedy deals with the likes of Svalbard and Palm Reader, even though the world slowed down for a hot minute, things haven't stopped for Justine.

"It's been a real nice positive thing to focus on.

I'm really stoked on all the bands we have coming out.

I feel very confident. A lot of them will be a part of the next wave. That's what I really like about being a small independent label; you get them when they're playing to 20 to 50 people and help put them in front of more people."

Continuing, she says: "It's just really nice helping other people achieve their dreams. When they win, you win as well because you're doing it together. I've been working for labels since I left uni, so for eight years now. I was part of those people's beginnings, and now I can see them play the Main Stage at Bloodstock.

So, when I'm in my late 30s, in 10 years, I could hopefully see that new wave I'm working on now."

Being both a part of an Upset 39

“It's cool to care about your art” Justine Jones

exciting wave of British metal themselves, as well as nurturing the one now blossoming, does Justine see enough space being created for this all to happen?

"There's a space now," she lightly nods. "I think the press, festivals, and gig promoters have realised that the more legacy acts aren't going to be around forever because you're gonna have to retire at some point. There's gonna be a huge vacuum, so they're trying to cultivate growth in the smaller bands, which is good because I think I could totally see bands like Architects and Bullet For My Valentine being the next festival headliners."

Given the pop penchant for baptising itself in the dark and dingy water, and 40 Upset

the sheer talent rising through, that space is being filled rapidly akin to the early-00s influx. Employed To Serve even wound up helping out alt-pop icon Ashnikko on a remix of 'Cry' last year. Undoubtedly, heavy music is growing in strength.

"It absolutely is having a second wind," Justine agrees. "I feel like that's the right way to put it because I think the 2010s was quite a low, and it was quite slow, but since about 2017ish onwards, it's been straight up."

Legacy is a big word, but it's what ambition is constantly driving towards.

Generally, the ambitious have no finish line. It's a constant burning fire of passion, and with the two facets of Justine's life both setting the stage,

it's undeniable that's where this is all leading to. Employed To Serve are fast becoming a beast of their own, which is where all great bands end up, but it's the hustle and bustle required that keeps it on the straight and narrow.

"There are obviously days where I get complacent and can be like, 'Oh, today I just want to tour all the time', but it's really nice having the two towers, I guess, with my life," Justine says, pondering on her current state of play. "It keeps you grounded and working hard, and because obviously, things are a bit easier with ETS now, they're sort of more selfsustaining, you just kind of go with it."

I

n addition to ambition, you need that special something to get people to care. Something that sets you apart from the rest of the belligerent crowd.

Much like those Roadrunner bands of old, there's something about Employed To Serve that just sticks with you; the feeling that you're witnessing something of note happen.

"I like to think we're quite personable," Justine considers. "I feel like we've always been music fans first, so we've always been going to festivals, and going to shows, and always been present in the scene. From that, we've got to know people who've followed us since day one. We've always made an effort to go out front and say hello because the thing is, this whole Slipknot persona works really well for that, but it's just not really our personalities, so we've never gone for the behind-thescenes approach. We've always been around and available to chat. And I feel like our lyrics are quite relatable. A lot of them are metaphorical, so it's quite easy to put yourself in those shoes, basically."

Personable is a good word for it, with Justine currently sipping from a can of the latest US craze to hit our UK shores, hard seltzer White Claw ("I'm slightly obsessed with these!") as if it's a summer's day in the park.

In an age where bands are available all day, every day via social media, it can often be the opposite when they end up at shows, disappearing backstage and then slipping out the door.

Saying she's "more of a fan of the old fashioned way", meeting fans in person, that 24/7 online churn isn't something that's entirely within Justine's wheelhouse.

"I really struggle to keep on top of messages and stuff just because I hate spending too much time on my phone; it stresses me out. It's interesting how there are almost two kinds of divisions; they're available at the show or replies every single comment, and they're on Twitch all the time, or they're on YouTube all the time."

"There are loads of bands

who are doing awesome on Twitch, and it really suits their personality because they have an extroverted way of talking to big crowds, but for me, I've always been better one on one, or in smaller groups, because I hate talking on stage. I have to literally pre-think what I'm saying just so I don't stumble or anything like that because it's hard to address an entire audience."

Building her confidence

“Legacy acts aren't going to be around forever” Justine Jones

up has very much been a trial by fire, with Justine remembering that in the very early days of Employed To Serve, it was very much a case of struggling to make eye contact. "I was quite a quiet person, and now I'm the complete opposite."

Her best advice for wanting to grow your own confidence? It's quite simple, really. "It's quite funny; if you want to build your confidence, put yourself in front of people and let them judge you. It makes your skin thicker, and you tend to care a little less," she says, a chuckle breaking out. "Obviously, people have been really nice as well not just the negatives, you know!"

An integral spearheading piece of a new British metal convoy, Employed To Serve are leading the way. This sits alright with Justine. "It's an absolute blessing being a band at this time. There are so many of our peers and friends who are doing really well, like Svalbard, Venom Prison, Conjurer, Palm Reader - there are so many of our friends' bands who started roughly around the same time as us, and we've had the privilege to see everyone grow."

There's no band more humble yet ready to take to the top than Employed To Serve. Growing into this duality, and their own way of being, while also offering ladders for their pals to climb has been seamless.

"I feel like everyone's really supportive of each other, which is good, so it's quite exciting," Justine smiles sincerely, closing with a sentiment that digs beneath the focus into why they're proving unstoppable.

"Every Friday, I just know there's gonna be a good album out. As a music fan, it's brilliant." P Employed To Serve's album 'Conquering' is out now.

Upset 41

FORMIDA COOL With her first album in bloody ages, Colleen Green tries to figure out what it means to be a grown-up.

Words: Linsey Teggert. Photos: Jason McDonald.

42 Upset

ABLE

Upset 43

C

olleen Green's new album was recorded in summer 2019, and

by January 2020, it was all wrapped up and ready to go.

And then... Iggy Pop threw a spanner in the works.

In an ongoing saga that took up most of 2020, Colleen and her management battled back and forth with Iggy and the Stooges' management to clear the use of the album's lead single, 'I Wanna Be A Dog': a playful take on The Stooges' classic 'I Wanna Be Your Dog' which finds Colleen musing upon the simplicity of canine life compared to her own anxieties.

"I didn't think it would be a big deal; we just wanted to take the proper steps and make sure nobody would get sued," recalls Colleen. "I'd been in touch with Iggy's manager, and he told me everything was fine, and they were cool with it, then BMG, who own the publishing rights to the song, got in touch and said their client had denied the request and there was no room for negotiation."

After a year-long "weird ping pong game", where each side was saying something different, the publishers agreed that Colleen could release her song if she paid them $1500 and gave them 75% of the publishing royalties.

"I was like, okay, I guess we're getting somewhere, but that doesn't seem fair because I don't have any money, and I don't know how much money they think I'm going to be making off this?

Iggy Pop is worth millions, and I was determined to try and negotiate. Finally, we got them to agree to just taking 25% of the publishing from the song; I can live with that as long as I get to release my music. They were equally as responsible for the delay as the pandemic, I would say."

Listening to Colleen talk so matter-of-factly, in such a laidback manner, about taking on the team behind one of the Godfathers of Punk, you can't help but be in awe of just how damn cool she is. It's apt then

44 Upset

that her new record is simply titled 'Cool'.

'Cool' isn't Colleen blowing her own trumpet though, it's the type of wry, selfdeprecating reference that's made Colleen an underground icon, sort of like a real-life Daria.

"It's mostly just because people are like 'Colleen Green is so coooool'," she laughs, putting on a comical stoneresque voice. "You know what, thinking of an album title is really hard, I had this huge list of album titles, and they all sucked, so I was just like, let's just call it 'Cool'.

'Cool' is Colleen's first release since 2015's 'I Want to Grow Up' (another play on a punk title - The Descendents' 'I Don't Want to Grow Up'), an acclaimed record that wrapped existential problems in layers of lo-fi grunge pop.

With Colleen's insecurities and neuroses laid bare for all to see, it's no surprise that she wanted to move on from that with her next release and focus on the actual growing she's done in the years since. "'I Want to Grow Up' was definitely a transitional phase in my life - I don't think 'Cool' is the endpoint, it's still transitional as well, but I'm a little bit further along on my journey. After getting all that stuff out on the table, I've had the past five years to reflect on that and take my time to learn more about myself and all the negativity I acknowledged. That's where 'Cool' came from: a lot of the themes and feelings on this album are in direct response to the things I talked about on 'I Want to Grow Up." When comparing tracks from 'I Want to Grow Up' and 'Cool' side-by-side, it's obvious that Colleen is in a much better place. Take the former's 'Things That Are Bad For Me (part II)' for example, which sees her lament that "there's an energy inside my brain, set to self-depreciate, some kind of anxiety makes me do things that I know are bad for me," and compare it with the latter's anthemic 'It's Nice to be Nice' where

Colleen displays her emotional maturity by reminding herself it's important to be the best person she can be.

"It was good to get all that off my chest and exorcise it, but I felt so exhausted after 'I Want to Grow Up". I still have insecurities, but I'm trying to figure out how to take responsibility for my own happiness and own actions.

'Cool' isn't the endpoint, I still have a lot of work to do, but if I was just done growing at 37, that would be weird. I hope to always continue on this journey of self-reflection and try to get better all the time with every year; that's what 'Cool' is, I guess.

The sonics of 'Cool' also reflect its much more positive outlook; the edgy paranoia of 'I Want to Grow Up' is replaced with a breezy, effortless sound with crisp production and playful beats.

"I really just wanted to make a record that was melodic and pleasing to the ear; I didn't have many lyrics even left in me after 'I Want to Grow Up'. I just wanted to make beats on my drum machine and play guitar along to them; that's how the songwriting process of 'Cool' started."

To keep those minimal beats, Colleen enlisted the help of Gordon Raphael, best known for his work with The Strokes, including their debut 'Is This It'. Having worked with her beloved drum machine on the demos, she wanted to have live drums on the record but still have them sound like a drum machine. "I wanted it to be very robotic and repetitive, and that's when it dawned on me that Gordon should produce the album; that's exactly what The Strokes did, and I'm a huge fan of those records."

Despite the journey of personal growth Colleen has undertaken in the last few years, there's one thing she's still trying to figure out: love.

Colleen declares that a big chunk of the new record is about love, specifically the idea of unconditional love and what it means to love

another person without ego being involved. It's fair to say that the inward existentialism of 'I Want to Grow Up' is channelled here into questioning our capacity for connection with others.

Colleen even asks it outright in 'How Much Should You Love a Husband?'.

"Years ago, my friend had just got married, and she tweeted: 'how much should you love a husband: all the way or even more?' I had no idea what she meant by that, but I thought about it a lot, and it took on its own meaning for me. I'd been thinking a lot about marriage or even just long-term relationships, how much fucking work it takes to actually be with a partner for even ten years... even five years, forget about fifty years!

"People put so much stock into their careers, and it's like, how much does that even matter? I know everyone needs to make money to survive, but I feel like love is its own career and takes more work than any job anybody could ever have. Do I have the stamina to work at something that much in my life?"

Despite all this talk of growth over the decade Colleen has been releasing music, there's been one thing she's been unable to shake along the way, and that's the image of being, well, a massive stoner, to put it bluntly (no pun intended).

"I'm the one who has 420 on all my usernames on social media; I kind of leaned into it," she laughs, always willing to poke fun at herself. "I don't smoke weed anymore - I quit in 2017 - nowadays I'll just have edibles occasionally, I don't want smoke in my body.

It never really pissed me off too much that the media portrayed me that way, as I was a huge stoner for a long time! In a way, I kind of liked that image, though the thing that did piss me off is when they called me a slacker.

That word got thrown around a lot, but I'm not a slacker; I've worked really hard." P Colleen Green's album 'Cool' is out now.

“I'M NOT A SLACKER; I'VE WORKED REALLY HARD” Colleen Green

Upset 45

Blackpool-based quartet Blanket take on modern living with their ferocious second album.

Words: Jack Press. Photos: Jodie Guest.

46 Upset

W

elcome to the era of the endless scroll.

A world where our cities are museums, our streets exhibitions. Our lives are glass boxes, always on display. If it sounds like a nightmare, it's more like reality.

Imprisoned in our homes by a pandemic and pained by the political undercurrent, our reliance on social media accelerated. You'd likely be lying to yourself if you said your average screen time didn't increase as your mental health struggled more.

A band all too familiar with this era are Blanket.

Appalled as much as they are inspired by social media, their second album 'Modern Escapism' is an exploration of voyeurism in the modern age set to a backdrop of lulling shoegaze and apocalyptic post-metal.

"A lot of the lyrics are from a perspective of someone looking through a window into someone else's life," explains guitarist and vocalist Bobby Pook, sheltering from grey Britain's bad weather in his home, adding: "It's about those little hits of dopamine when other people like your social media posts."

It's a sentiment the band all share, and they're aware they're part of the problem, as bassist Matthew Sheldon asserts: "It's an odd world, and we're all guilty of taking part in it." It's a catch-22, as Bobby adds, "the weirdest thing about it all is we're a band in 2021, so we're always posting on social media."

'Modern Escapism' is an album all about social media. The complexities it creates, the mentalities it erodes. It's an album born out of a time where a pandemic put a world behind self-imposed bars. An album, it seems, inspired by the way we tore down barriers of communication by

enhancing our reliance on a single platform.

"Everyone in the world suddenly had some sort of social media channel that they were putting out to people so they could talk to them because they couldn't actually socialise anymore," explains Matthew, in awe as much as in uproar at the situation. "It became this thing of creating some sort of false image of whatever you were doing to then project onto others and then watch everybody else's, and that became a form of socialising all of a sudden."

Finding comfort in the binge-watching habits we've all been guilty of over the last eighteen months, they found their fascination with social media growing stronger through a series of films and documentaries.

The Truman Show. Requiem For A Dream. Voyeur.

It's the latter that forms the very foundation of 'Modern Escapism' as an album. The documentary tells the tale of an American motel owner who documents his guests most private moments from the motel attic. It sent the band into a frenzy of ideas.

"We had this discussion about how everyone is looking at other people's lives a lot and not concentrating on their own happiness and mental health," admits Bobby.

This air of sadness and this spark of discussion came from a single WhatsApp group chat that ultimately gave way to the title of 'Modern Escapism' and what it truly means to them. As Matthew explains: "It's talking about modern voyeurism and modern escapism, and what that is.

It's about social media and the way we all obsess over each other's lives, wanting instant validation and instant gratification."

The album's themes feed through everything they do. Its artwork – a brutalist building blocked out in a single square, with no words – and its accompanying visuals are

built from the existential pondering our social media obsessions have spurred on.

"The whole idea of it being a building is a representation of the way we're looking into other people's lives. It's making social media physical as if you're standing outside a building looking in at all these different people's lives," explains Matthew, with Bobby quickly chiming in, clearly impressed by their own meta-layering.

"We wanted it to be a tower block so it's kind of off centre and very simplistic and harshlooking. Even the music videos are designed to have an insight into what is supposed to be this tower bloc. We shot a lot of it in an abandoned hotel in Blackpool, so the inside of the hotel became the inside of this brutalist tower block."

In contrast to the brutalist slabs of concrete and their conceptual world creates, Blanket's musical direction is as colourful as it's ever been. Embarking on an evolutionary journey since 2018's 'How To Let Go,' 'Modern Escapism' sees them submit to outside influences such as post-hardcore and shoegaze. However, they had a whole different album in the can before shelving it in search of something else.

"A lot of it was coming out like Circa Survive, and then a lot of it was coming out like Bon Iver and the more experimental Kanye West and Frank Ocean records," explains Bobby, adding: "It was all a bit indecisive, we just didn't know what it wanted to be musically, so we had to have that discussion."

It's a discussion that led to them starting from scratch. They found themselves still departing from the safety of the sound they'd built, but in a completely different direction. One inspired by an influence that felt far more complementary to their post-rock roots.

"Deftones is an obvious inspiration for these new songs, like a lot of the inspiration for me writing from home was those 90s shoegaze bands, but really heavy. Deftones themselves can be fairly shoegaze on certain albums, and bands like Nothing as well, they heavily inspired my vocal style; it's supposed to be a texture."

As 'Modern Escapism' doubles up as that 'difficult second album', there's an element of risk to shaking up a sound that works. It's something they spent a lot of time struggling with until they gave in to their own creative urges.

"We've always respected and loved bands that do those crazy changes album to album, like Dillinger Escape Plan being an obvious one for me. I didn't like some of their albums that they bought out later on, but I really respected that they just completely changed."

"Why release the same record over and over again?

It doesn't make sense as an artist to stay inspired and to stay playing those songs live. You play the same songs for a year; by that point, you're kind of done with them. You don't want to get like some bands and start having the same banter every night and the same sets. Thin Lizzy literally played 'Live and Dangerous', like the exact same show with the same banter between songs for 10 years. Heroin will do that to a band, though."

Blanket, whether they're wary of becoming caricatures of Phil Lynott delivering boring stage banter or simply inspired by shifting their sound station-to-station, they continue to evolve. In the era of the endless scroll, if any album can document the trials and tribulations of our obsession with other people's lives, 'Modern Escapism' is the answer. P Blanket's album 'Modern Escapism' is out 6th October.

Upset 47

48 Upset

NOT SO BLACK AND WHITE.

Embracing the ambitious scope of alt-pop, Grayscale have an eye on the future.

Words: Steven Loftin.

Upset 49

G

rayscale were never going to be the type of band who, come album three, were going to rinse and repeat themselves: they're not ones to be underestimated.

"We're after finding the best sound and being the best band that we can be. None of the other shit matters to us." Beaming his band's new mantra in from somewhere in Sunny America, Collin Walsh is ambling around a truck stop en route to Sad Summer festival, where Grayscale are performing along with cohorts The Maine and All Time Low. "I don't mean that in a pompous way because if you're coming to our shows and paying to see us, I'm gonna leave it all on the stage every night; we all are," he says.

"That means the absolute fucking world to us. But as far as making music to appease other people or specifically for playlists, we don't care about that."

Describing their first two records as akin to being lost in the woods, "not stumbling, but journeying," it's on their third that the band have found their way out, bleary-eyed, onto the trail.

'Umbra', in all fairness, is Grayscale on a pathway to even more enlightenment.

There are bands pushing boundaries, poking political promises with sharp sticks, and generally aiming to be beacons. Grayscale, while as with any band, they want to be big, they're instead focused on showing their truest colours.

Referring to 2017's debut 'Adornment' as "just a rock record", it is undoubtedly beholden to a core of alternative. "People put it in the category of pop-punk, and that's fine. We don't really see it that way," Collin reflects. "With the world that we're in and our peers and where we came from, I can see why and that's cool."

Its follow up, 2019's 'Nella Vita', is where the Grayscale chaps began letting their true influences beam throughout.

Coated with a pop-leaning sheen. "We have a lot of love for R&B and funk. Gospel, 80s, and

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pop," Collin explains. "That's the kind of shit we really love to do, like let's start implementing that."

Explaining their influences, it's quite a mixed bag. Guitarist Andrew Kyne grew up playing in church and loves gospel.

Other guitarist Dallas Molster is into a bit of Phil Collins, and bassist Nick Ventimiglia can be found scoping nineties grunge, while drummer Nick Veno, along with Collin both learned jazz drums. Quite the smorgasbord, then.

All this is not to say that Grayscale's early moves were conducted with any untoward intentions in mind. Sticking close to those rocky roots came simply from not knowing how to translate their many influences. "We wouldn't have been able to implement it in a way that we would have been comfortable and happy with looking back," he says.

"We were fairly young. Every band's career path is different, but I think as songwriters, we weren't ready to do this yet."

I

t's the first impression that often sticks. So, after Grayscale's first, the "rock" record, is what drew people in, their exploration was undoubted to be met with a few ruffled feathers. Yet, a facet often forgotten in music is that no band is born with the sound they want. Titans such as blink-182 were a rough and ready-to-collapse punk act before finally finding their major pop-punk strides on album four. Collin's clearly been pondering this himself, swiftly mentioning Bring Me The Horizon and their shape-shift from metalcore to alt-pop giants.

"Now that you've seen the full transformation, you look back at it, you go, oh, that makes complete sense like, I see what they were doing all along."

Fellow Sad Summer crews The Maine and All Time Low are two bands who've also learned to lean into something bigger than their purer pop-punk starts. The former are leaning into their best conceptual selves, while the

“It'll make sense in the end, for sure” Collin Walsh

latter are reigning strong in the pop charts - are Grayscale keeping their eyes on what's going on around, or focusing solely on their lane, then?

"I think every band is its own animal," he ponders. "We keep it in our lane, but like The Maine are good friends of ours, and I'm gonna see both of them in a couple of hours today. There are definitely conversations I've had with bands in the older generation than us that I've taken some stuff from, but a lot of that is more, I don't want to say reassurance, but just kind of affirmation."

Seeing bands not only choose to follow their own path but succeed is what Collin's mining. "It's seeing people execute it well, and it being exponentially more successful than if they had just done the same thing over and over again. It's knowing it's possible.

But at the same time, I think in 2021, people consume stuff very quickly, so there is a little bit of a balance there. If you do it well, and you do it in an organic way that's true to who you are as an artist, you'll be successful. That's something we've always held on to and believed in."

The big question is, have Grayscale ever seen themselves as a pop-punk band in that case?

"We've truthfully never, ever, ever seen us as that at all," Collin stresses while smiling, ever the diplomat. "But there's nothing wrong with it. People like that, and that's totally fine; we don't have any hangups about having a label on anything."

Perhaps a point that may go unnoticed, but an acknowledgement of Grayscale's deep musical roots comes in the form of references that, quite frankly, you don't really - or ever - hear in contemporary music, let alone from previous Warped Tour participants. On 'Umbra', they're insisting on 'Dirty Bombs' you "listen to some Elvis, put on some rock 'n' roll", and using Motown's timeless iconic group the Temptations to colour the rather blushing 'Motown' (it's also a bop of the

highest order).

"There's something about that song," Collin smiles.

"Our manager, that's like her favourite, she was like, 'this has to be a single'. She was so pissed when the label and we said we don't want it to be."

Perhaps due to the very onthe-nose nature, or perhaps to keep some secrets for when the album's unleashed, either way, Grayscale are indeed leaning into popping a lovely positive sheen on matters that can fall as a bit depressing or even overtly sexual.

"Hiding in plain sight is a very, very, very truthful and good way to explain the record!" And that's just what Grayscale have been doing.

As with all those classic pop songs that leave a darker meaning to be cloaked by a delicious melody, Grayscale aren't afraid of hiding a bit of meaning. "'Motown''s an example of a song where the lyrics don't match the vibe of it, and I'll do that on purpose.

In art in general, having that kind of juxtaposition is cool; it's interesting. It creates a scenario where people can take what they want from it. If you just put on 'Motown' and don't listen to the lyrics, it's like 'Oh, this is a fun pop song, like a radio fun song', but if you listen to what it's saying, it's really not, it's vulgar."

For all of its openness in sound and subject, 'Umbra' is bold. Fan reactions, now that the ball has well and truly left the pop-punk court means some have had to make a choice. But certainly, anybody that's jumping ship will indeed be missing out on a band on the cusp of properly hitting their stride.

"It's one of those things where, to your point, some fans can be stuck in their way," he ends. "But I feel like we're a band where the majority of people and our fans thankfully understand what we're doing and where we are. I think when you look back, when you look at it as a spectrum, it'll make sense in the end, for sure." P Grayscale's album 'Umbra' is out now.

Upset 51

HOT HOT STUFF STUFF Battling through label disputes and industry nonsense, cult faves illuminati hotties are flying higher than ever before.

Words: Linsey Teggert. Photos: Lissyelle Laricchia.

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S

arah Tudzin is in demand. Not only is she one of indie rock's most soughtafter sound engineers and producers, with recent work including Sad13's 'Haunted Painting' and Pom Pom Squad's 'Death of a Cheerleader', but she's the dynamo behind her own self-produced project, LA 'tenderpunk' powerhouse illuminati hotties. Having started life as a callingcard for Sarah's work as a producer so she could demonstrate her skills to other artists in order to get work, it's fair to say that illuminati hotties has now taken on a much larger life of its own.

"This band has gone further than I ever dreamed it; it's taken on such a cool form, and it's an amazing vehicle for self-expression," explains Sarah. "I'm not dealing with anyone else's artistic vision, so I can go far out of the bounds of what I thought a song could be."

Breaking free of constraints and skewing people's expectations is something that has defined illuminati hotties' short lifespan. Despite forming in 2017, Sarah is about to release her third record as I.H, 'Let Me Do One More', via her own imprint, Snack Shack Records. When illuminati hotties burst onto the LA scene with the infectious energy and offkilter nuance of debut 'Kiss Yr Frenemies', the bold opening statement hinted at an unstoppable forward trajectory.

Unfortunately, things didn't quite go to plan.

While working on her eagerly awaited second record, Tiny Engines, the independent label that was home to illuminati hotties along with Adult Mom and Mannequin Pussy (to name but a few), began to implode. Following a rather public decline after accusations of contract breaches and missed payments, things got messy, and Sarah's plans

for a second record were caught in the crossfire.

Unwilling to let go of the material she'd been working on for album two under such circumstances but still owing the label one album, Sarah ripped up the rule book and quickly recorded 'Free I.H: This Is Not The One You've Been Waiting For', leaking the album before its official release date under the artist name Occult Classic.

(The hip-hop heads out there will recognise the title as a nod to Lil Wayne's 'Free Weezy', which was released in a similar protest.)

'Free I.H' was far from a rushed goodbye: it garnered huge acclaim with its hyperactive genreflitting, demonstrating the production wizardry Sarah was capable of in twentythree minutes.

"I'm thankful for the work Tiny Engines did on the first record, but I was really disappointed in how that drama played out," sighs Sarah. "It was disheartening to see the label fall like that, but since leaving, it's given me the opportunity to not only write and self-release an album in a really cool way, but to move forward under my own vision."

For a record that fans and even Sarah herself doubted would ever see the light of day, 'Let Me Do One More' more than surpasses expectations - even the title captures the boundless energy that illuminati hotties have come to represent.

As for capturing the very essence of a band, look no further than the record's first single 'MMMOOOAAAAAYAYA', an unpredictable, almost whiplash-inducing race through different emotions that is utterly triumphant in its chaos. It would be a crime to not also mention the genius video for the track that sees Sarah parody D'Angelo's 'Untitled (How Does It Feel)' video, standing shirtless and posing before

being covered in some gross porridge-like goop, Nickelodeon slime style.

Equally wild is the fun-loving and summery 'Pool Hopping' with its scattershot percussion matching the spirit of Sarah's tales of running around LA and sneaking into different pools, also a cheeky metaphor for relationships and not just settling for one person.

"I've done my own little bit of going from pool to pool," laughs Sarah.

"That song references sneaking into hotel pools or someone's yard, generally just causing trouble and being reckless, doing anything my friends and I could to stay cool and have a good summer. I remember there was this very fancy hotel in Newport Beach with a pool that's this perfect giant circle with a super fancy bar. I'd been driving around the area with a friend, and we wanted to swim, so we just showed up with a towel and walked right in, but we definitely did not fit in at all; that vibe was very different from us. That's one of my more chaotic pool hopping experiences!"

As well as having a hell of a knack for raucous punk fun, Sarah knows when to dial it back, and some of 'Let Me Do One More's' finer tracks are its softer, quieter moments such as the sweet and quiet 'Threatening Each Other re: Capitalism' or the gentle country sway of 'u v v p' featuring Big Thief's Buck Meek. It's a testament to the diversity of Sarah's craft as an engineer and producer that she can comfortably transition from full throttle to delicate in a matter of minutes.

"Each song speaks for itself, I guess; I feel extremely pumped that I've been able to position hotties in such a way that it is truly me, and I can do anything. That's the true dream production project for me: there's no box, no scene, no lines within which I need to colour; I can just

do me."

After the surprise drop of 'Free I.H', one thing Sarah isn't so pumped on is what she describes as the "slow burn" of the album release cycle.

"Sure, I'm down to try it out again, especially now that Hopeless Records are on board as we have the resources and scope to do it in a way that I haven't been familiar with, but I just love the way 'Free I.H' came out. I loved just dropping a record and seeing what happened - that feels far more artistic to me to let something into the world that way, especially in the case of that record, which was made so fleetingly. It felt very pure compared to the press cycles we're used to seeing, and I hope I can do it again. I admire artists who have so much output that they know there's more coming all the time, so they don't have to ruminate too much on the release."

After the bumpy rollercoaster ride of the last few years, things are once again moving forward for Sarah, with more production work on the horizon and her name becoming one of the hottest in indie production circles. As for illuminati hotties, the future is looking exciting, with the band even bagging support slots for indie heroes Death Cab for Cutie, though she's typically modest about her meteoric rise.

"Being in music is the long game: the more you're around, the more you say yes to stuff, the more people you meet, the more shows you go to and records you work on - one thing keeps leading to the next, though that's the same in a lot of careers.

Things have definitely ramped up since I started, but it took a lot of hustle, and it's finally starting to pay off in a really cool way." P illuminati hotties' album 'Let Me Do One More' is out 1st October.

Upset 53

NEW

HO

54 Upset

Eleven albums deep, and Thrice are trying to figure out what it means to be human.

Words: Steven Loftin. Photos: Matty Vogel.

ORIZONS.

Upset 55

"W

e're a fairly serioussounding band, generally," Thrice frontman Dustin Kensrue begins, plastering a contemplative smirk across his face. "But I think the way we approach doing what we do is very playful."

It's a statement that may feel at odds with Thrice's penchant for penning stonyfaced rock; doubly so given that their eleventh outing, 'Horizons/East', is all about unpacking civilisation: the thread that glides between sentiency, belief and reality, but most importantly, hope.

"I'm always trying to be hopeful," Dustin considers, "just because I feel the burden of making something that's going to emotionally influence people."

This charge Dustin sees himself as having is a key component to 'Horizons/ East'. Emotional, and faithbased influence is a difficult curse to overcome once the course is set.

"A lot of it has to do with openness to new information, new data, new experiences," he explains further. "Because that's the thing that gets shut out most of the time, and shutting that stuff out leads to all sorts of problems.

If you can maintain an openness to that new data, new information, a new experience for yourself and other people, there's a path to be chartered."

But, to understand this hefty thread of Dustin's however, we need to head back to 2012.

With Thrice in the throes of taking a breather from the gruelling touring life, while the frontman was becoming a deacon in Orange County for the now-defunct Mars Hill Church, the seeds for these new notions were being sewn. Still, it took the disgracing of the church's former head, along with

56 Upset

a little soul searching for Dustin, to harvest that field of thought.

You see, growing up ingratiated in the Evangelical church, to entering in a position of respect and publicity, meant that certain values and became engrained in Dustin.

Following "a very natural and powerful human propensity to hold on to certainty or ideas of certainty," it's this he attributes to the rest of the world's fear and loathing too.

"It's very understandable that people feel strange about uncertainty; they want to know what's going on," he says. "They want to know that they're safe, that they're taken care of. So, you have entire communities and social groups that help reinforce those ideas, and there's a lot of good stuff there, but there's also a lot of negatives that come with that."

Now, that's all behind him. These days Dustin is "embracing the uncertainty."

Sure, this can be scary, let alone letting the ideologies you've grown up with shape-shift into something more wholehearted: "The beginning of that journey is much more fulfilling and healthy for yourself and those around you."

Explaining further, 'Horizons/East' stems from the thinking of American academic Dr James Carse.

His most influential book, Finite and Infinite Games features the theory of culture having a horizon, a spot that's constantly moving. In contrast, society is restricted by boundaries forced through fear of evolving.

Not wasting any time introducing this shifting wind, the album's opener 'Color of The Sky' deals with claustrophobic ideological images of walls that "circumscribed the city, where beyond it nothing dwells at all". Confirming it's "basically a little story of

“If this one has a main metaphor, it is literally like an eye opening to the world” Dustin Kensrue

what it looks like to move from one to the other," the truth that resides below is where the new power of Thrice belongs.

There's some well-worn spiel about shoes, a man, and walking a lot. But those shoes have holes for a reason. The dirt they let in is a necessary harsh reality.

This is something Dustin really wants to emphasise, having gone through his own period of examination and evolution, with its reasoning too.

"I think the more you can step back and see the complexities of those systems," he says. "It can still be frustrating, but I think it can lead to better methods of actually communicating with people, rather than just trying to shame them out of something because usually, that's gonna push them further into it."

T

hey say the eyes are the windows into the soul.

'Horizons/East' is no exception. The most colourful Thrice artwork in over a decade, the bold, rainbow pattern depicts that of an iris. "The last record, the open hand was kind of a theme, and if this one has a main metaphor, it is literally like an eye opening to the world," Dustin mentions.

This glimpse into the inner sanctum of Thrice, and Dustin in particular, is where the crux of the album lies.

"We all do share so much in the human experience, that those cultural differences get in the way of realising that a lot of times," he says, and for someone having been through such a spiritually-driven life, you can't help but feel he knows what he's talking about.

As for if 'Horizons/ East' is some kind of social, political or cultural commentary, in reality, no definition suits it, according

to Dustin. Explaining that he's "naturally wired to want to write my songs as essays," distilling his notions into the form of not being Dustin's Soapbox Album, "it's hard to say that I want it to be a social commentary. I think I am trying to speak about the world that we live in, and that's definitely a social thing and political, and I think all of that ties together. But I feel weird saying it is a social commentary."

Indeed, in reality, 'Horizons/East' sits above any one title. It's a complex infrastructure of theology, sociology, and musical robustness. Going back to Dustin convincingly saying that Thrice aren't all moody faces and thunderous riffs, setting themselves the, erm, fun challenges of writing songs using the likes of jazz chord patterns and constructing guitar lines around the mathematical Fibonacci sequence, "having those challenges like that… it's kind of absurd and silly," he grins. "But it's also interesting. We like the tension that those things bring."

'Horizons/East' trudges as a wholly minimalist work with maximal effort for all this complexity. It's 'big', and it's the sound of Thrice being hypnotised by their own might.

For all its fun beginnings and elaborate middles, the end is engrained one thing only: hope. "I do think about hope a lot because I think it's a hard thing to hold on to a lot of times," Dustin nods, the weight of everything he's been through laying these new foundations. 'Horizons/ East' is proof that even the blackened skies will pass, holding its darkness within but ultimately, "Art can weirdly inspire that in us, and I do take that seriously, and I do think it's a hopeful record." P Thrice's album 'Horizons/East' is out now.

Upset 57

Rated.

THE OFFICIAL VERDICT ON EVERYTHING

Amyl & the Sniffers Comfort To Me

eeeee

Back for another round of amped-up collision of pub rock and punk, Amyl & The Sniffers have returned to the airwaves to cause some more ear carnage. Instantly sounding like a musical equivalent of being mauled by a big cat on opener ‘Guided

By Angels’, things only get rowdier from there. Tracks like ‘Freaks To The Front’, with its middle-finger-up call to arms (“Freaks to the front / if they don’t like what you are, just ignore the cunt”) act like a rallying cry. Abrasive and magnificent, there is literally no sense of any rough edges being polished off this time round. They’ve lost none of their raw power, and only increased the voltage. One for the ages. Jamie MacMillan

Angels & Airwaves

Employed To Serve Conquering

eeeee

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The Top is seriously calling for Employed To Serve.

Their fourth album is not only where they’re going for gold, but they’re ready to snatch it from the grasp of any band that dare get in their way. 'Conquering' - if the title didn’t already give that away - is a fully harnessed iteration of the band. Fetching those snarling roars of past, they're chucking them in with the focused maturation that comes from being a band not only growing older but also that bit wiser.

Still toting the same roaring fire and brimstone, it’s the moments that reach new heights that spark the most intrigue.

Open to picking apart the stitches, they’re unafraid of exposing the silence and letting the air pour

in, ready for the deepest darkest call to arms (‘Mark Of The Grave’).

While moments may err on the lighter side (for ETS anyway), the brutality remains and is no signifier of the five-piece slowing down. If anything it’s a restraining of the previous unbridled chaos, and choosing to studiously take their time, simply waiting to strike with even greater fury.

Raging blast beats, breakneck face-melting guitars, studiously crushing vocals; Employed To Serve are the unrelenting jewel of British metal. Equally, 'Conquering' is a vivaciously hungry addition to an arsenal of already impeachable albums, and nothing’s going to stop this skyrocket. Steven Loftin

Lifeforms

eeeee

Having spent years being very serious with their multimedia concept records about dystopian futures and wars in far-flung solar systems, Angels & Airwaves' 'LIFEFORMS' is one of the most fun albums of the year.

Grounded with feet firmly on Earth and their telescope focused on humankind, A&A's sixth album rattles off synth-saturated pop-rock hits one after another. At the centre of this gem is a return of fun-loving, witty Tom DeLonge, who gets to shine through. He references his UFO pals, goes on a campy anti-gun campaign in 'No More Guns' and throws in the occasional

gleeful "woo" as 'Kiss & Tell' bursts into life, embracing and revelling in the reality of an apocalypse to the tune of a dial-up router. Alexander Bradley

Bad Waitress No Taste

eeeee

Bad Waitress might seem like riot grrrl reincarnated for Gen Z, but they are much more than that.

The Toronto outfit’s debut album is intriguing; reminiscing on prog, post punk and 90s post hardcore, with an obnoxious 00s pop-punk attitude thrown in for good measure. It’s incredibly saturated and brazen, led by vocals so raspy they crack as they purge.

There are points where tracks on the album frustratingly seem indistinguishable from each other, as well as predictable. Take ‘Strawberry Milkshake’, which falls victim to the cliché of contrasting disarming music with overly

provocative lyrics.

Despite the hitches though, the band have made an album that is objectively impressive and impassioned. Their talents and zeal do feel authentic; the stripped back and disjointed ‘Delusions of Grandeur’, alongside visceral album closer ‘Restless Body’ prove the four-piece as a force to be reckoned with - albeit a bit green. Jasleen Dhindsa

and expansive, their second album 'Modern Escapism' shifts from shoegaze brilliant to glorious down-tuned drone and thumping drum beats with each passing gust. A near ethereal drift, even the doom feels strangely euphoric. An album in the best sense of the word, blanket no longer fit in any neat box. They're simply brilliant. Dan Harrison

blanket

Colleen Green

eeeee

eeeee

Modern Escapism There once was a time where postrock genuinely did feel to be an artform that followed on the back of something - a reaction to a musical form, more brutal, soaring and epic than its more basic predecessor. In 2021, though, with genre a loose concept at best, everything is cut free from the tethers of reference.

That's a wide open sea that Blackpool's blanket navigate better than most. Cinematic

Cool

If you call your album 'Cool', it better damn well do what it says on the metaphorical tin. Not that that's especially a worry for Colleen Green, an artist who pretty much defines the word. From 'I Wanna Be a Dog' and its tale of barking at closed doors, to the existentially troubling 'You Don't Exist', Green remains both immediate and impossible to deny. There's deep thoughts under the surface, but a winning, effortless charm

slathered over the top. 'Cool', It's cool. Who knew? Dan Harrison

God Damn Raw Coward

eeeee

Brutal, ballsy and brazen - God Damn’s third album is a mean feat and pure

moreish chaos.

Lead single ‘Yout’ with its flawless hardcore throws you straight in to gnarly riffs and full force vocals, as the sarcastic and tongue-in-cheek tone of the whole record is soon felt with the vigorous ‘Cowkaine’ and chugging ‘Shit Guitar’.

As humorous as it is intricate, ‘Raw Coward’ is eccentricity personified, and uncompromisingly so. A multidimensional and experimental effort, the album is so heavy in parts that you really do feel it in the pit of your stomach.

Incredibly gifted yet incredibly weird, God Damn have hit a peculiar sweet spot for British hardcore. Jasleen Dhindsa

Upset 59

Hot Milk

I Just Wanna Know What Happens When I’m Dead EP

eeeee

Pop-punk isn’t dead; it’s been revived and reinvented by none other than Manchester’s Hot Milk. Ferocious from the get go, second EP ‘I Just Wanna Know What Happens When I’m Dead’ is confirmation that this band is going places. Vocalists Han Mee and Jim Shaw work together like a well oiled machine. This record is infectious, full of huge singalong choruses. Of which, the title-track is rightfully the star of the show. Hot Milk expertly combines electronic elements and more traditional ones. Yet, all of the tracks fit seamlessly together for a cohesive experience. Quite frankly, this EP Has achieved more in five songs than many bands do in ten. Kelsey McClure

illuminati hotties

Let Me Do One More

eeeee

The rambunctious bundle of fun that is illuminati hotties is back. Ready to bring a little light-hearted joy to the world, Sarah Tudzin’s fuzzy lo-fi punk edge is glowing once more.

Surrounding saccharine melodies, her unstoppable energy is soaking up all it can to keep the good ship hotties bounding along. There’s joyful electricity running through her third outing; 'Let Me Do One More' is a glimpse into the living and learning life of its creator.

Featuring many shades, from the sincerely reserved (‘Threatening Each Other re: Capitalism’, ‘Protector’), to the tongue-in-cheek country twang (‘u v v p’ feat Buck Meek), and the rip-roaringly fed up (‘MMMOOOAAAAYAYAY’); it’s a

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frazzled expedition into the great wide open of her mind.

The twinkle in the hotties eye comes from Sarah’s ability to traverse the serious, playful and antagonistic, making them all work together as harmoniously as not giving a fuck will allow.

Steven Loftin

One Step Closer

This Place You Know

eeeee

Writing about your love/ hate relationship with your hometown is a hardcore right of passage, with the likes of As Friends Rust bemoaning the Gainesville pressure cooker on ‘Half Friend Town’ and the need to get on the road on ‘Tight Like Strings’.

Like As Friends Rust, One Step Closer also come from a storied hardcore town – in their case Wilkes-Barre (home to Title Fight and Cold War amongst others) – and are the latest to put their hometown on blast as

they contend with the security of a scene and the scrutiny that comes with wanting to play stages around the world.

Yet Title Fight aren’t the primary source of inspiration for One Step Closer’s sound.

Instead, there’s a clear love of 90s melodic hardcore, youth crew and old-fashioned emo, and these all spill out at appropriate moments during ‘This Place You Know’.

The likes of ‘Time Spent, Too Long’, ‘Pringle Street’ and ‘Chrysanthemum’ are all prime slices of progressive melodic hardcore, rich with vocal layers, musical urgency, and insidious hooks. But when One Step Closer let rip – like on ‘Leave Me Behind’ and ‘Autumn’ – they produce a sound so intense and powerful it could blow the roof off even the biggest of festival tents.

But there’s more to One Step Closer than straight-up hardcore, and on ‘Hereafter’ they show their sensitive side with devastatingly beautiful effect. An ode to vocalist Ryan Savitski’s late grandmother, it’s the beating heart centrepiece

of an album that is everything hardcore should be in 2021.

Rob Mair

Sincere Engineer Bless My Psyche

eeeee

The quality of punk rock blowing in from the Windy City is currently unprecedented, with a whole generation of bands brought up on The Lawrence Arms, Alkaline Trio and Smoking Popes releasing killer albums in the last 18 months. Sincere Engineer’s ‘Bless My Psyche’ might just be the best yet, however.

Opener ‘Trust Me’ is a story of struggling to get your shit together when there’s a dozen more important things to do.

It’s a sentiment that is echoed throughout, but which really shines on the re-recorded standout ‘Dragged Across The Finish Line’, with Deanna Belos pleading that she’s “Not trying

rock solo as affirmation, they’ll continue to push their boundaries in every direction.

It’s full with great moments, but in between those are some jagged transitions of sounds that don’t completely marry in an album that refuses to settle into a rhythm. Clocking in just under an hour, ‘This Place…’ has a lot to get lost into; some of it is complete magic. Alexander Bradley

Sleigh Bells Texis

eeeee

to win… just trying to finish.”

'Bless My Psyche' is an album about being frazzled and worn down to the quick, but also about keeping the dream alive when all hope is lost - never have such small wins sounded so celebratory. Rob Mair

Sleep Token This Place Will Become Your Tomb

eeeee

Sleep Token have changed what is possible within rock, and ‘This Place Will Become Your Tomb’ only continues that.

Ambient and soulful on one hand and total brutality in the other, the cloaked, anonymous collective have taken the foundations of their debut album and built upon them.

Opener ‘Atlantic’ pirouettes sublimely from light to dark, while tracks like ‘Mine’ introduce wavy synth sounds and ‘Telomeres’ features a Jerry Cantrell-style bluesy

10+ years after their incendiary debut fulllength, Sleigh Bells are still whipping up noise and confusion on their fifth album ‘Texis’.

The duo of Derek Miller and Alexis Krauss' all-out guitar attack has always made them stand out on their own but this time their frenetic rock meshed with sugary pure pop hooks feels like it chimes with more contemporary scenes like the anything goes sound of hyperpop. They’re not doing anything different here but what they are doing is as reliably thrilling as ever. The guitars crunch and hit hard while the hooks are more insistent than on their last few releases. Standouts are the cheerleader rocket fuelled hype of ‘Locust Laced’ and the electro rush of single ‘Justine Go Genesis’.

They might be entering their second decade as a band but Sleigh Bells' brand of chaos might just capture a whole new audience on their strongest release in years. Martyn Young

Spiritbox Eternal Blue

eeeee

Spiritbox have certainly been summoning the attention recently. Finally getting

around to releasing their debut, this monster amalgamation of everything they’ve been working on while spreading the good word of Spiritbox and amassing fans the world over, has been worth the wait.

The frantic electric pulses that signal the beginning of 'Eternal Blue' indicate just how all-killer Spiritbox are. There’s an exalted power within that just as easily coasts across the impressive duality of vocalist Courtney LaPlante's soaring sermon or her gruelling screams from within. Factor in the orchestra sized swell of Mike Stringer and Bill Crook, and the trio feels unstoppable.

Their now-trademark maelstrom, with its chugging undertow and delicate electronic flourishes lighting the way, is where Spiritbox truly shine. Everything feels prescient and ready to ignite their potential. Highlights including the extravagant “Secret Garden”, and a particularly vicious feature from Architects’ Sam Carter on 'Yellowjacket', but if any critical value had to be applied it would be simply that you need a nap after listening since it feels like you’ve travelled several thousand leagues on the adventure of a lifetime.

'Eternal Blue' sits simultaneously familiar and fresh. As if metal has, for the first time, found a home in the idea of epics and melody.

A perfect scene of brutality and majesty all harmonising to create the next big thing: Spiritbox. Steven Loftin

Thrice

Horizons/East

eeeee

Thrice have become masters of control and restraint in recent albums, but ‘Horizons / East’ loosens that grip to wonderful effect. It’s an album on the offensive, refusing to rest on its laurels or let any track merely meander as with their

predecessor. Instead, Thrice have elected for a harder edge with the spiky riffs in ‘Buried in the Sun’ and the grungy guitar-bleeding of ‘Still Life’ indicative of a band eager to make a statement every chance they get. There is no mistaking ‘Scavengers’ and ‘Summer Set Fire to the Rain’ are deep-rooted in frustration at our current culture of disinformation and environmental neglect as part of the album’s frequent references to the decay of civilisation. It makes for their most unrelenting record to date, where the odd jazzinfluenced drum groove, delicate piano solo or shuffling synth only serve as the calm before they bring another storm. Alexander Bradley

We Are Scientists Huffy

eeeee

For a band seven albums in, you’d expect We Are Scientists to be running out of steam but their new album ‘Huffy’ proves this is very much not the case with 10 tracks of tip top quality tunes. Opener ‘You’ve Lost Your Shit’ invokes the Kim Wilde classic ‘Kids in America’ to great effect with the New York duo in top form. Single ‘Contact High’ is an instant WAS classic which will sit right at home in their banging live shows while the 2020 single ‘I Cut My Own Hair’ is the sort of indie rock banger that just yearns for the stage.

It’s not just their trademark indie that Keith Murray and Chris Cain are selling with this record though, there’s also the countrified ‘Bought Myself A Grave’ which eventually turns into electronic smooth strawberry jam. Not to mention the rather sweet ‘Just Education’ proving a highlight on an album full of them.

Overall, the boys continue their streak of solidly good records.

Josh Williams

Upset 61

EVERYONE HAS THOSE FORMATIVE BANDS AND TRACKS THAT FIRST GOT THEM INTO MUSIC AND HELPED SHAPE THEIR VERY BEING. THIS MONTH, DEREK FROM SLEIGH BELLS TAKES US THROUGH SOME OF THE SONGS THAT MEANT THE MOST TO HIM DURING HIS TEENAGE YEARS.

WITH... DEREK MILLER, SLEIGH BELLS

CYNDI LAUPER Girls Just Wanna Have Fun

Bonkers energy. Cyndi's voice sends me to the moon. The video rules, too; it's a massive part of my childhood. And the scene in the Goonies when she appears briefly on television while they tie Bran to the chair is sick as well.

Big blasts of white noise on the snare. Euphoric synths etc. Rad. Love Cyndi.

DEFTONES Dai the Flu

Sleeper smash on 'Around the Fur'. Abe and Chi (RIP) hold down the verses, Stephen steps in with a big, pretty, noisy riff for the chorus, Chino's vocals... just wow.

I've been a Deftones fan for what feels like my entire life. I saw them on the Adrenaline tour (April 8th, 1996 in West Palm Beach, FL), and that was that... I started forming bands the very next day and never stopped.

MADONNA Like a Prayer

Gun to my head, I'm going with 'Like a Prayer' for my favourite Madonna song. 'The Immaculate Collection' was/is a staple for my family. When I was a kid, my mom and I would sit in burning hot Florida traffic and blast it over and over. I still remember the sound the cassette made when I put it in the player thingy.

That sound meant joy was about to happen. This song is a masterpiece. Madonna and Patrick Leonard co-write.

Perfection.

SMOKEY ROBINSON

Tracks of My Tears

me. Marv Tarplin's opening guitar figure is so gentle and quiet and totally devastating. I don't know what else to say other than I love this song very much. I'm going to stop typing and listen to it.

GEORGE MICHAEL Faith

So lean and mean. Is there ANY reverb on ANYTHING? There's nowhere to hide! Everything in this mix sits right on your ear, crystal clear for maximum impact. I can't even explain how the swelling Wham! organ intro makes me feel. I'd just end up trying to sound clever or poetic, don't want that. I love this song.

Thank God for 'Faith'.

My parents were huge Motown fans, so I'm sure I heard this when I was extremely young, but the first time I REMEMBER hearing Corso it is when I saw Platoon in 1986 or '87 around age 7. It changed This is brand new, but I'm putting

TYLER, THE CREATOR

62 Upset

it in here cause it's my favourite track of the year (so far), and I can picture my 16-year-old self losing my mind to it. 58 seconds in, a stack of dissonant piano chords drop on us while Tyler is flipping out rapping about boats and houses and stuff. It's so, so inspiring and life-affirming; I can't get enough of it. If you haven't heard this record yet, give it a spin!

SLEIGH BELLS Never Say Die

Alexis' vocal is super hypnotic and pretty. I love this track, and it would be cool for more people to hear it, so give it a chance.

SANTO & JOHNNY Sleepwalk

This plays during the opening titles of the Lou Diamond Phillips film La Bamba which is one of my favourites. I could throw a bunch of adjectives at this one otherworldly, sublime, heavenly - but they all fall short. My 6-yearold self would sit in front of the VCR, play the opening, rewind the tape and play it again and again, over and over. This piece of music means the world to me. I feel lucky that at any moment in time, while I'm alive, I can put in my earbuds, hit play and experience this miracle of a song. P

I know, I am such a loser for putting one of our own songs on this list, but oh well! This is on the back end of our second record, Reign of Terror. The title is, of course, a Goonies reference (notice a theme here??). The track itself is really thin sounding and repetitive with nonstop double kick, overlapping guitar arpeggios and a Yamaha TG33 bell patch on top. I think the snare Sleigh Bells' album 'Texis' is is from my OP-1?? Been a while. out now.

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