INTERVIEW: VAMPIRE DISCO CLUB WILL KEEP YOU DANCING IN THE DARK

 

“I never go out of my way to be weird, but I definitely have a non-stop sense of dark absurdity.”

— VAMPIRE DISCO CLUB

Last week, we featured a fun track called “Eye in the Sky” by Vampire Disco Club. It’s a rocking, electro-tinged little song that will make you want to dance-fight a mob of ninja robots. Or is it just us?

Needless to say, we couldn’t resist the urge to feature Vampire Disco Club again. Volume III of our playlist includes “Glory,” the big single from this quirky project. We’re also happy that we got the chance to speak with the guy behind VDC. This is a musician who’s as friendly as can be. “I love interacting with artists and supporters,” he told us. “If someone has a great recommendation for a movie or record, I’m all ears and eyes!”

Scroll to learn more about Vampire Disco Club. You know you want to.

 

DARKNESS CALLING: We love your sound and aesthetic. The band name might also be the best band name of all time. [Laughs] Also can't go wrong with the Blade Runner-esque font you’ve used at times, and the cyberpunk cover art. Can you tell us a bit about your influences and the evolution of this project?

VAMPIRE DISCO CLUB: Thanks! [Laughs] I started this project in February after doing a few other experimental records that weren't getting traction. I was burned out on what I had been doing the last few years, so I packed up and left L.A. to live in Pittsburgh. 

I had a few initial demos that didn't fit with my other stuff, but I really liked them. Initially, it was about writing a love letter to my favorite artists like Iggy Pop, David Bowie, Talking Heads, Wu Tang Clan, LCD SoundSystem, Sisters of Mercy… Basically, a band where I could make any style of music and not care if it fit together. Since then, it's evolved into writing concept records with certain musical throughlines.

DARKNESS CALLING: The best thing about your music is that it is dark while also maintaining this kind of fun/sassy vibe. With a name like "Vampire Disco Club," I'm sure that was intentional. Was the tongue-in-cheek vibe planned from the get-go, or did it just come out naturally from your personality?

VAMPIRE DISCO CLUB: The sassy thing is just me. A lot of times when I write, I have the whole idea all at once, and it comes from me having a really bizarre phrase pop into my head. I'll randomly say the phrase out loud for a few days in a voice and then realize it's a song. I never go out of my way to be weird, but I definitely have a non-stop sense of dark absurdity.

“The whole EP was really about surviving the chaos, but I wanted to use paranoia to communicate what I was seeing.”

— VAMPIRE DISCO CLUB

DARKNESS CALLING: We featured "Eye in the Sky" on last weekend's playlist. Are there any fun anecdotes about this song in particular?

VAMPIRE DISCO CLUB: That song was written during the lockdown. I was on Twitter and noticed all these right-wing people were super paranoid about Bill Gates killing everyone, and I got pretty into surveillance conspiracies and started watching The Americans and reading Neuromancer for the fifth time. [Laughs] The whole EP was really about surviving the chaos, but I wanted to use paranoia to communicate what I was seeing.

 

DARKNESS CALLING: What was it like producing this EP? I noticed that your first songs came out around March, right when the pandemic kicked into high-gear and many began quarantining. Was it difficult launching such an ambitious project right when the shit hit the fan?

VAMPIRE DISCO CLUB: I had moved from L.A. to Pittsburgh in the Winter. I put out my first VDC demo in late February, then my single "Ruby Veins" got picked up by Kerrang! Friday, March 9th, and I kinda was blown away. Two days later when the feature hit, lockdown was announced, and all my shows were instantly cancelled. I wrote "Glory” in April, and by May, I knew this wasn't going to end. I started producing non-stop to kinda cope with the stress.

As far as production, I had a few rules. My first demo EP was all record sample breakbeats, and I played live instruments on all the tracks. For this one, I did the opposite and used only synths and drum machines. "Eye in the Sky" is the only track that had samples, but it was mostly because I had it done before I made the rule. [Laughs]

DARKNESS CALLING: Do you have any plans for music videos or additional music to be released in the near future?

VAMPIRE DISCO CLUB: I have plans to do a shirt to tie-in with the EP. I like the idea of thematically relevant merch. I nerd out pretty hard on lore, so having artistic tie-ins is important. I'm in the process of doing my first full-length — new rules, new concept, new sound. As far as videos, I'd love to, but it will be awhile before I can find someone to work with during COVID. A lot of people are scared, so I don't want to put anyone in an uncomfortable place. 

Actually, I work non-stop, so the LP will have a vinyl, and I have a concept for the follow-up after it. [Laughs] Expect a lot of music.

DARKNESS CALLING: Thanks for doing this! I wish you success and hope that Vampire Disco Club is able to take over the world in time.

VAMPIRE DISCO CLUB: Thank you!

INTERVIEW: ‘5 R V L N 5’ WILL FUCK WITH YOUR MIND, BUT ONLY ALEXA HEARS EVERY WORD YOU SAY…

 

“Things are getting more and more ‘Orwellian’ day by day. It’s fucking scary.”

— 5 R V L N 5

Last week, we featured a track called “Flesh” on Volume II of our playlist. To be honest, it almost didn’t make the cut. Not because it wasn’t good (It’s definitely good), but because it was — for lack of a better phrase — a hard pill to swallow. Of course our end goal at Darkness Calling is to curate playlists that people will enjoy listening to. While the quality of 5 R V L N 5’s “Flesh” was undeniable, we feared it might be a little too abrasive. Ironically, “Flesh” is probably the most accessible of the band’s songs — probably why it was chosen to receive the video treatment [See below]. Meanwhile, some of their other songs make NIN’s Broken sound like Kidz Bop.

But we listened. And we listened again. And what we determined was that there was an undeniable allure to the song: a mystery, a scab that was begging to be picked (Okay, maybe we’re a little too eager with the Reznor references). Needless to say, we had to learn more about this project. Who is 5 R V L N 5? What is 5 R V L N 5? What the hell are we listening to?

We may have some answers. Read on to learn more. 

 

DARKNESS CALLING: Question one -- and it's a serious one: what's it like being so fucking scary?

Your project is objectively unnerving, which I'm sure was the intention. And you genuinely pulled it off. I feel like a lot of acts try really hard to present something that's unsettling, and it really just comes off kind of laughable. But with 5 R V L N 5, between the imagery and the dark soundscape you've unleashed, it's truly a creepy experience. 

5 R V L N 5: Thanks. Creating an atmosphere within the music is definitely one of my main goals. I like to write music that gives listeners the ability to imagine visuals within the mind’s eye. I have a background in film and animation, so the visual aspect has to be just as good as it is sonically and vise-versa.

People who’ve listened to the record probably think I’m one of the most miserable human beings on the planet and — for a time there — they’d be right in saying so. Those years in which I was making these songs were some of the most difficult times in my life. A lot of the themes on this record are kind of me processing those feelings. It all comes from a place of good intentions, though.

It’s real. I try to keep it as honest and vulnerable as possible. Writing and releasing this album has been cathartic, to say the least.

“It’s real. I try to keep it as honest and vulnerable as possible. Writing and releasing this album has been cathartic, to say the least.”

— 5 R V L N 5

DARKNESS CALLING: A little embarrassed to admit, but I feel like I should be picking up on the significance of the project's name. Can you tell me what it means? Or is that a mystery? [Okay, now looking closer at your IG page, I have a feeling it might mean Surveillance? If so, can you give any background into the significance?]

5 R V L N 5: There’s no mystery at all regarding the name. You are correct in saying it is pronounced as “Surveillance.” The band is called 5 R V L N 5 as it’s a tongue-in-cheek nod to the state of the world and where we’re headed. Things are getting more and more “Orwellian” day by day. It’s fucking scary.

DARKNESS CALLING: May I ask who exactly is 5 R V L N 5? Or am I peeking too far behind the curtain? 

5 R V L N 5: 5 R V L N 5 is mainly comprised of myself [Chuck Clybourne] in terms of writing and the overall direction of the band. For this album, however, I did bring in a few friends to help out on a couple of songs. The talented Lara Noël does a guest vocal, and my longtime friend Danny Garcia plays drums on a couple of songs.

Playing live is a whole different story… We typically play out as a full band with as many people as I can cram on the stage. It makes things interesting, and it’s fun to collaborate with other musicians in the scene that way.

 

DARKNESS CALLING: What can you tell us about your songwriting/production process? I can tell a lot of work certainly went into this. The sound is very layered and production-heavy, in the best way possible. I also have to say, compared to much of the indie music out there, this sounds so professional and polished, while still being mind-destroyingly-distorted and insane.

5 R V L N 5: Believe it or not, most of this album started out on an acoustic guitar with just me in my room. I’ll write some chords or riffs that start fitting into an arrangement, then I transfer all of that over to the drum machine and kind of rewrite/remix the song with sequencers and synthesizers. Once I have the demos where I like them, I bring those tracks to my producer (Adam K. Stilson) and we record everything legit in a real studio. He mixes everything down and that’s about it. Adam has got some pretty crazy outboard gear at his place, so it’s always a blast twisting knobs and watching him work his magic. He’s a wizard.

DARKNESS CALLING: When recording the vocals for a song like "World of Filth," do you have to get into a certain headspace to make that happen? Or are you able to carry on normally and transition on a dime? It's hard to picture you making nachos before screaming, "I want to die every day of my life!"

5 R V L N 5: That’s one of my favorite songs to play live, actually, for that reason alone. I’ve always been able to get a real rough, gritty sound out of my vocals for as long as I can remember, but yeah... that one requires me to summon a demon or two [Laughs]. I think if you’re a singer or out in front in a band, you need to be able to be an actor, in some ways. Sometimes, the song has a character and you need to step into that role. That song is a good example of that for me.

 

DARKNESS CALLING: I'd love to know more about "Flesh." Lara Noël and Danny Garcia contributed to the track. Can you tell me how a song like this comes together?

5 R V L N 5: That was one of the first songs I finished demo’ing for this record. Once I had all the basics laid down, I immediately knew I wanted to have a live drummer and put a female singer on it. Lara and I had been living together at the time, and she was already hearing a lot of the things I was working on, so I just asked her if she’d like to give it a shot. One night, we sat in my studio and banged it out. She had kept trying more of a lower, bluesy register, and I just remember I kept telling her, “Go higher! Like Cyndi Lauper!”

As far as Danny Garcia, that was an obvious choice. I’ve been in bands with him on and off for the past 20 years. I naturally think of him anytime I’m going to work with any drummers. He’s very reliable and rock-solid in the studio. He’s my go-to guy when I need some of that big John Bonham style of playing.

DARKNESS CALLING: What's in the future for your project? Are you already working on new music or taking a break?

5 R V L N 5: Definitely lots coming up in the future for us! Since we are unable to play shows or tour, I have been busy in the studio creating the next volume of songs, which is coming along nicely.

We also have some remixes coming out later this year. They’ll be part of a “Deluxe Edition” vinyl for The Black Mark. David Bottrill (Muse, Tool, Peter Gabriel), Justin Broadrick (Godflesh, Jesu), and Sanford Parker (Nachtmystium, Eyehategod) all contribute tracks, to name a few of the bigger producers. We are really looking forward to that!

Lastly, I’m putting together a collection of 5-6 cover songs for release next year. More details to come on that, but I can say Lara Noël will be making a comeback and that one of the tracks is a rework of an old Ozzy Osbourne song. Stay tuned.

INTERVIEW: RETROGRATH DELIVERS DARK MINIMALISM WITH A CLASSIC CROON

 

“I love this attitude of, ‘Do it yourself or don’t do it at all.’”

— RETROGRATH

Darkness Calling: Volume III won’t be released until this Friday, but today saw the release of Retrograth’s second single, “Wave of Attraction.” The song is sure to stand out among our new batch of curated songs (which you can hear on Spotify tomorrow). You could have told us that “Wave of Attraction” was an unearthed Depeche Mode b-side, and we probably would have believed you. With that said, Retrograth is anything but derivative. As you’ll learn in our “Inter-Review” with the artist, his approach to the genre — particularly as a musician debuting in 2020 — is wholly unique.

In an era of social media insanity and attention-seeking behavior, the man behind Retrograth will only pull the curtain back so far. We know his name, but we can’t share it with our readers (Sorry). We also don’t have an artist photograph to present you. Instead, our promotional art simply includes his project’s logo — the 3rd letter in the Futhark runic alphabet. When spoken, it makes the “th” sound, which is why Retrograth’s cover art may appear to say “Retrograd” for some listeners. (We learn something new every day!)

Read on to learn more about this mysterious project and why it deserves your attention.

 

 

DARKNESS CALLING: What can you tell us about the origins of your project Retrograth? You've mentioned that your music has a focus on "sounds, philosophy, and science." How did you decide upon this concept?

RETROGRATH: The analogue project Retrograth started with me buying an ARP Odyssey analogue synth for Christmas. I never owned an analogue synth before, so I had to read manuals and watch tutorial videos to dive into it and understand what to do with it. But that opened a window to another world — a world of sounds and inspiration.

One of the Swedish universities’ insignia is “science and art.” That motto kind of links to my interests, as I studied history, music science, and computers at the university. Quite a weird mix with one leg into technique and the other in culture. But that is also why sounds, society, and philosophy have become the main themes in the lyrics.

But the lyrics usually don’t lack some twists. I like languages, and just for the fun of it, I often put in references to books, songs, and science. But as Standard English isn’t my mother tongue, perhaps a few expressions might lack the correct vibes, which might create a bit of an exotic touch.

 

DARKNESS CALLING: So you’re based in Sweden? And Retrograth is a one-man project at this time?

RETROGRATH: Retrograth is based in Stockholm, Sweden. At the moment, it is a solo project, but it would be nice to collaborate with others. I just made a tune with a Turkish guitarist and noise artist, but those tunes might not fit in the Retrograth project.

DARKNESS CALLING: Your new track "Wave of Attraction" is definitely worth a listen. I feel it really captures the dark spirit of those 80's synth records, particularly early Depeche Mode, if you don't mind the comparison. Without giving away all of your secrets, how conscious is the decision to re-capture that older sound, and how do you accomplish it?

RETROGRATH: At the moment, there is a bit of an underground scene in Stockholm with clubs that play post-punk and goth. Minimal wave, darkwave, and synth are played there, too. I was a part of it, as well, as I used to run a music bar where we used to host weekly theme nights with classic synth and goth music. The ones that inspired Retrograth were nights like Belgian New Beat, Sounds of Sheffield, We’re In Parties, and the weekly Elektropub. We also had theme nights of Depeche Mode, Kraftwerk, and Einstürzende Neubaten.

With those sounds around me, I got inspired to tweak the knobs and sliders on my keyboard to recreate some of that vibe, but in my own way and with my own songs. That was the kick off for Retrograth.

I started off with an ARP Odyssey, a synth used by both Kraftwerk and Ultravox, so it is quite natural that Retrograth sounds like something from the 75-85 era.

That era of synth musicians sprung out of the positive side of the punk attitude. I love this attitude of, “Do it yourself — or don’t do it at all!” Some guys of the Sheffield scene even complained about the complexity of punk rock guitars and touring with heavy drum sets. Instead of three chords, speed, and volume, they created fantastic soundscapes with only one-finger keyboard playing, drum machines, and reverbs. They even put a sticker on some albums stating, “On this album, there are no guitars or drums, only electronic instruments.” That’s a punk attitude to me!

 

DARKNESS CALLING: What can listeners expect to hear in the future? You have 2 EP's scheduled for release, is that right? Sensation and Quantification? What has the creative process been like as you’ve begun production on these releases?

RETROGRATH: This fall, the plan is to release the 2 EP’s Quantification and Sensation. As a creative boundary, there are a few rules to the Retrograth project. One is the sounds; the other one is the theme of the topics and feelings of the songs.

Regarding the sounds, the idea is to make them as unique as possible, and not to use any pre-sets. Perhaps it starts with a pre-set, but then I can’t keep my fingers off the knobs and modify it a bit. As analogue modules are used, there are no ways you can save a sound for the future, unless it is recorded. That gives a bit of a here-and-now vibe.

Limits are usually the best creative inspiration. In the computer, there are folders named with different themes for upcoming EP’s. That leads the songs in certain directions, both regarding the feelings and vibes of them, the sound design, and especially the lyrics. So far, there are more than ten different themes in the hard drive.

DARKNESS CALLING: Thanks so much for shedding some light on your process! Is there anything else you’d like to say to our readers?

RETROGRATH: I have been happily surprised with the response for Retrograth, after the release of the first single “Doppler.” There are listeners worldwide, from Beirut to Mexico City. USA is the 2nd biggest fanbase, with a quarter of the audience. It feels fantastic.

INTERVIEW: UNDERZONE BRINGS CLASSIC 80’S POST-PUNK INTO THE “MODERN AGE”

 

“That was the past... What we are today is fully represented in our debut album.”

— UNDERZONE

Certainly one of the most energetic tracks in our Darkness Calling: Volume II playlist is “Modern Age 2.0” by the Italian post-punk outfit known as Underzone. This stellar song was released a little over a year ago, but it’s a new discovery for us — and a welcome one. It begins with a pulsing, ominous synth, but it shortly morphs into a fun, toe-tapping track with tight drums, melodic guitars, and a vocal performance that’s downright fun.

Yes, we used the “f” word at Darkness Calling. With that said, there’s an undeniable darkness about the whole thing, even if it is a classic sort of Hanna-Barbera/Scooby-Doo kind of darkness. Trust us when we say that this should be taken as a compliment. Underzone is haunted house music with a tinge of camp, a hint of nostalgia, and a wealth of talent.

The guys of Underzone were nice enough to take part in an e-mail chat with DarknessCalling.net, even though there’s a strong possibility that English is their second language. I hope they won’t mind that I’ve taken the liberty of tweaking their words a bit. Regardless of our probable language barrier, Underzone definitely communicated their enthusiasm for music and their desire to create the perfect post-punk sound. Read on below. 

 

 

DARKNESS CALLING: Thanks for speaking with us! From what I understand, you guys are from Messina, Italy. We are based in the States, but we love your sound. Can you tell us a bit about some of your influences growing up? Was the post-punk scene fairly popular in your area, or were your tastes considered obscure in Italy?

UNDERZONE: First of all, we thank you for your appreciation, especially as an overseas listener! Really! We didn't expect that our music could spread so fast and so far. Our influences are rooted in English and American 80’s post-punk. In 1980’s Italy (and even today), there were a lot of bands inclined to post-punk — close to the dark, cold, and new-wave sounds. Some of those had international success, like Neon or our fellow citizens Victrola. However, for the most, our taste is surely obscure in this area, as we believe it is also obscure in yours… but we’d be glad to be proven wrong!

DARKNESS CALLING: Can you tell us about your members and their roles in the band?

UNDERZONE: No problem! The band is composed of three members: Stefano Restivo (voice and guitar), Tiziano Giunta (bass), and Francesco Zagami (synthesizers and drum machines). We can tell you that we have known each other for a long time, and we had common musical experiences, but that was the past. What we are today is fully represented in our debut album.

 

DARKNESS CALLING: That first album was released a little over a month ago. What was the process like writing and recording it? How long was Underzone in existence before the album came to fruition?

UNDERZONE: The band was born in early 2016 and was formed as a classic punk band. The choice to move to the electronic sound (including synthesizer and drum machines) came later. We needed almost two years of learning to be able to record and release the first single “Modern Age 2.0” with the music video produced by Uollax Comics in April 2019 [See below].

That period was divided between sound research, songwriting, and recording in our own studio. The mastering process was handled by the great Ottavio Leo at his own studio, and ended in early 2020. 

 

DARKNESS CALLING: Your artwork and logos are very visually striking. Can you tell us anything about the development of your unique look and how it compliments your music?

UNDERZONE: We're happy to know you like it. We like it, too! We believe that the logo, like the rest of the artwork, instantly communicates the spirit of the band.

DARKNESS CALLING: Are there any plans for additional music or music videos in the future?

UNDERZONE: Absolutely, yes. We are working on a new music video for another song on the album, but we won't reveal which one yet. (It's a surprise!) We also have a lot of ideas to work with for the next album.

DARKNESS CALLING: We can't wait to see what the future holds for Underzone. Thanks for sharing your music and your words with us! Is there anything else you'd like to mention for our readers?

UNDERZONE: Thank you for the interview, and thanks to the readers! We invite you to listen and follow us on our social pages.

INTERVIEW: DESPITE THE NAME, TWIN REPLICA IS ANYTHING BUT A COPY

 

“You have to find time at some point to dedicating that space and saying, ‘Nothing else can happen today because I need to turn this idea into a demo.’”

— LEIGH TAYLOR, TWIN REPLICA

When curating the tracks for Darkness Calling: Volume II, we came across Twin Replica, a Bucks/Oxford-based synth duo that absolutely blew us away. Yes, the formula is somewhat common: a female vocalist with a simultaneously delicate-yet-powerful voice backed by a wall of synths and drum machine flourishes. But where Twin Replica shines is the absolute quality of their work. These guys should not be an indie group. It’s an injustice that will hopefully be righted sometime soon.

The production on all four of their Spotify tracks is top-notch. More importantly, each song (particularly their latest, “Known”), has the power to give you goosebumps. Vocalist Melanie J. Austin has a voice that truly soars, while Leigh Taylor’s synths waver between dark minimalism and bright, 80’s-tinged euphoria. This isn’t hyperbole — this is some serious music.

We included “Crystal” on our playlist for its dark ambiance and Kate Bush-meets-Mezzanine vibes. The song came out in 2018, and even the aforementioned “Known” is a year old at this point. With a relative lack of information available online, we felt compelled to reach out to the members of Twin Replica and learn more. Thankfully, Leigh Taylor and Melanie J. Austin were kind enough to take part in this Inter-Review. Read on below. 

 

 

DARKNESS CALLING: Thank you for speaking with us! How are you both doing in these weird times? Has it been hard to stay productive in the pandemic, or has it actually led to more productivity?

TWIN REPLICA: We're both okay; getting a little used to this new “normal” now, but I'd [Leigh Taylor] say we've been productive. Especially [at the beginning of quarantine], it was easier to find time to sit down and work on stuff when we had all that time. After a few weeks, lockdown was getting a little bit tedious. It's really hard to write when you're not in the mood. It's almost like you have to be happy to write a sad song.

Both of us are back at work in some capacity. It's like being a kid when you've had all that time off over summer — you really, really don't want to go back yet.

DARKNESS CALLING: We truly love your sound. It’s simultaneously fresh while also calling to mind the best of classic 80's synthpop — and even 90's trip-hop. A great combination. Could you speak to us a little about some of your influences?

TWIN REPLICA: Thank you! That's just what we've gone for. And 90's trip-hop? That is interesting; we've not considered that. It's incredible what you hear in your songs and what someone else can pick out. It proves music is not always a “hive mind.”

So, influences… We love the synth/retrowave resurgence that happened over the last decade, and that's been exciting. There's a track by VHS Dreams called “Nightdrive,” and — to me — it’s the pinnacle of this sound. There's a ton of influences that have crept their way in: bands like Austra, IAMAMIWHOAMI, Maribou State, MØ, Daughter, and Chelsea Jade have all had an influence over the pop element [of our work].

We do like the widespread soundscapes of MMOTHS, Com Truise, Lorn, Holy Other, pothOles — so much of their stuff feels like they couldn't spread the stereo field far enough. Of course, being a synth-pop duo, you can't escape some more well-known influences like Kate Bush, Moby, Bat For Lashes, and The xx, to name a few. 

“It’s incredible what you hear in your songs and what someone else can pick out. It proves music is not always a ‘hive mind.’”

— LEIGH TAYLOR, TWIN REPLICA

DARKNESS CALLING: What is your process like working together? Does Leigh handle the instrumentation while Melanie writes the lyrics? I couldn't help but notice you've only had 4 songs released on Spotify over the last couple of years. Do you find that the songwriting process is a bit laborious, or does "real life" get in the way?

TWIN REPLICA: Yeah, you've nailed it — Leigh on music and Mel on lyrics. We stick to what we're comfortable with. Finding time to sit and write can be difficult. The whole rhetoric that “we need money for bills and work keeps a roof over us” isn't a lie, and you could say “real life” gets in the way. 

You have to find time at some point to dedicating that space and saying, “Nothing else can happen today because I need to turn this idea into a demo.” It works, but don't force it if you're not feeling it. Those “not feeling it today” days mount up and guilt you a bit, but sadly we're not living in a magical utopia, so it's full-time work and part-time songwriting for now. Also, we live about 40 miles apart, so not being able to write with each other hasn't really affected us whilst COVID’s around. Google Drive has been an excellent advocate for our music melting pot.

 

DARKNESS CALLING: Are there plans to release more music soon; perhaps a full LP? 

TWIN REPLICA: Yes, definitely. One thing we've worked on the most during the pandemic is an EP (couldn't quite find time for an LP). We had to step up and learn how to mix properly, take apart your own songs, piece them together, really look at structure and how other artists do it. (I should say most of the songs were written prior to lockdown.)

It's been a real educational experience. It's like if you learn to play guitar; you can now pick out the guitar with clarity. It's exactly the same with mixing — you can start to hear layers. It's amazing. On the flipside, we've worked on the songs a lot, but we have no idea where to place them for sound. We know who our influences are, but I think other people will surprise us with their answers.

Aside from the EP taking up our efforts, we're looking at working on a few covers for our YouTube channel. We used to make videos every now and then whilst we were building up a long enough setlist. As no one can gig, we're pretty much in the same situation now, so expect a video or two soon.