Upset, February 2023

RIOT! 4.The Murder Capital 8.Dream State

Howdy.

Yeah, we say howdy now, loyal reader. Things are changing in the world of Upset. You must have realised, given you’re holding our new-look mag in your hands. More an evolution than a revolution, our start of 2023 relaunch comes alongside a spanking new website.

If you want to check that out, head to upsetmagazine.com now.

Please?

That’s not all that’s got that new vehicle smell this month. We’re starting the year off by previewing some of the more exciting moments we’re expecting from the 12 months ahead, from album previews to the best new bands you need to check out - do your homework now, and you’ll be thankful you did later.

But some things stay the same too.

Weirdly, this month marks You Me At Six’s first Upset cover. A wrinkle in the fabric of the rock press

landscape, we’re delighted to make up for lost time as they drop their reassuringly great new album ‘Truth Decay’. A comforting presence that never lets you get so safe and secure it becomes boring, there’s a reason why they’re basically a national treasure at this point.

So grab a cuppa - or something stronger - sit back, and enjoy the brand new Upset. We’re only just getting started.

2023 ALBUMS 10.PVRIS 12.Meet Me @ The Altar 14.Nothing, Nowhere.

16.Hot Milk FEATURES 18.You Me At Six ABOUT TO BREAK 2023 34.Crawlers 38.Scene Queen 40.Loveless 42.Daisy Brain 44.Bleach Lab 46.Alissic 48.Panic Shack 50.Cassyette 52. Dead Pony REVIEWS 56.Måneskin TEENAGE KICKS 58.Kid Kapichi

Stephen Ackroyd @stephenackroyd Editor

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

Scribblers Alex Ingle, Dan Harrison, Jack Press, Jamie MacMillan, Rob Mair, Sam Taylor, Steven Loftin Snappers Andy Ford, Frances Beach, Jennifer McCord, Jonathan Weiner, Patrick Gunning, Rory Dunn, Sarah Louise Bennett PUBLISHED FROM WELCOMETOTHEBUNKER.COM PO BOX 420, HASTINGS, TN34 9LZ

All material copyright (c). All rights reserved. This publication may not be reproduced or transmitted in any form, in whole or in part, without the express written permission of The Bunker Publishing Ltd. Disclaimer: While every effort is made to ensure the information in this magazine is correct, changes can occur which affect the accuracy of copy, for which The Bunker Publishing Ltd holds no responsibility. The opinions of the contributors do not necessarily bear a relation to those of Dork or its staff and we disclaim liability for those impressions. Distributed nationally.

Upset 3

THE MONTH IN ROCK

RAIS -ING CAPI -TAL

While increasingly their peers have made quick jumps to second albums after the runaway success of their debut, The Murder Capital took their time to get it right. And how right they got it...

Words: Jamie MacMillan. Photos: Jennifer McCord

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RIOT!

→ James McGovern is in proper fighting talk and not in the mood for taking any prisoners when it comes to discussing what The Murder Capital have cooked up for their second record, the follow-up to incendiary (and intense) debut ‘When I Have Fears’. “You and I have both seen bands do that thing,” he states at one point, “where it’s just like ‘well, here you go again…’”

It’s been close to four years since The Murder Capital first exploded out of the blocks with a string of early singles that were fully formed and thundering with intensity. Followed quickly by the devastating ‘When I Have Fears’, made of equal parts brooding menace in tone and a backdrop of raw open-wounded grief, alongside a reputation as one of the most blisteringly exciting live bands around, it all served to cement them as a major force in the making.

And then, it all went quiet as shutters were pulled down on stages around the world by Covid rearing its ugly head.

Now that that particular set of fears has mostly receded back into the ether, it is perhaps perfect timing for the five friends to return with their captivating follow-up ‘Gigi’s Recovery’. Packed with equal amounts of light and shade, it is a concept record about choice that asks big questions about what to do with your time on the planet. What did you expect from The Murder Capital, though?

Catching up with three of the band over Zoom a few days before Christmas, the gang is in top form. James jumps in from London, while drummer Diarmuid Brennan and guitarist Cathal ‘Pump’ Roper are still back home following the band’s recent appearance at Other Voices in Dublin. For a band that seemed to exist mainly on the road in that first year of life, the excitement at returning to tour life is building. “I want to get consumed with that part of my life again,” agrees Cathal. “It’s felt like we were half on the job this summer; I’m so excited to just be full-time fucking back at it.”

Not that it’s been a smooth road to get back here. After that initial burst to life came a dizzying climb through a string of sold-out shows that always seemed to be being played in rooms that were one size too small by the time they took place. So relentless was the touring schedule that it was hard to see where the band could possibly find time to begin piecing together a second record until the world intervened and chucked a pandemic into the mix. “Everything that Upset 5

RIOT!

was going on in the world demanded that we kind of went away,” explains James. The band found themselves in the fairly unique position of being told to take even more time by their management and label teams. “Our team was telling us to keep going for a while because tours weren’t able to even be organised properly,” says James. “So we took that time and spent it wisely.”

With the title in place before writing began, James describes how it was only afterwards that the dots began to connect as the themes appeared and threaded together - something that’s not unusual for him. “I find that there’s a certain amount that you know what you’re writing about, and then a whole other part where you don’t fully connect the dots within your life and work out what it is about for months, sometimes years later. What you have written about starts becoming your life somehow.

I think that’s probably my favourite part, the changing meaning of the songs being applied to my life. You can completely relate to a song, and then have no relationship whatsoever with it and am left only with a feeling.”

He describes ‘Gigi’s Recovery’ as being largely autobiographical, the album detailing “a return to a place of strength”, a recovery that could only

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IT WASN’T AS IF WE SAT DOWN AND THOUGHT ‘OKAY, WE’RE GOING TO TAKE TWO YEARS TO WRITE A RECORD’” JAME S MC GOV E R N be taken through the choice to live differently - another major theme of the record. “When you come into a band, you bring every part of yourself on that journey,” James begins. “And there isn’t much room for change when you’re in that place.” It was clear that one major aspect of his life needed to change.

“I definitely, over the past few years, needed to cut out that endless partying,” he says. “It’s not about ‘not’ partying; it’s about the need to sometimes, you know, go to bed at some point. The record isn’t completely referencing that, there

are a lot of things that people need to recover from, but that was certainly at the forefront of my mind. How much longer can that kind of lifestyle go on for, you know? How willing am I to forfeit so much of the future for the present?”

It’s not just in behaviour and excess that changes have been made, but in the very nature of The Murder Capital’s sound itself; it is a deliberate move to not repeat the tricks on the debut.

“When bands do that, it feeds a certain beast at the time,” states James. “But a year or two later, people almost always talk about it as a miss. And I’m watching.

I see bands just trying to recreate that moment from their debut, and it just doesn’t really work. You know, it works functionally, but it doesn’t feed anything creatively.” It wasn’t ever even a temptation for the band. “’When I Have Fears’ was so intense, I’m so proud of it because it was honest,” he continues.

“It was a very real record, and it would have been ignorant, and disrespectful, honestly, to just be like, ‘let’s do that again’. It was a fucking crazy two years really, trying to reach that unattainable moment or goal of a complete evolution of our own setting.” The Murder Capital’s album ‘Gigi’s Recovery’ is out 20th January. Read the full interview in the February 2023 issue of Dork.

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

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RIOT!

Dream State run us through the rebooted line-up’s new release, ‘Untethered’

→ There’s so much variation of lockdown music waiting to be released: As the band were unable to tour or do much else due to the pandemic and lockdown in 2020/2021, Aled began writing a lot of new music. The freedom of time meant that new genres and sounds could be explored and played around with, which will be teased in our upcoming EP ‘Untethered’ and even more so in new music following that.

There are going to be some songs that are heavily inspired by electronic music and others that will be very guitardriven, full of hard-driven riffs, which came to be due to the frustration of being stuck in lockdown, unable to play live and tour. It’s all very exciting, and we can’t wait until people get to hear it all! → This first new (unplanned) EP is a taste of what’s to come The three tracks on this EP are the first three tracks that we all collectively started working on. Aled had already written so many demos, so we picked these three to begin with as they naturally felt like the next evolutionary step from previously released music.

The original plan was to just release three stand-alone singles so we could get music out to fans quicker, but as we progressed with writing lyrics, we began to notice a theme between the songs, so it naturally made sense to us to release these three tracks as one body of work. The EP also gives us more freedom to experiment with new sounds and directions that we haven’t tried before. Whilst we’ve played around with electronic elements on the album Primrose Path, those were subtle, whilst on this EP, they have become a much more prominent feature and feel like a natural progression and evolution from previous songs. We’ve already got a

rough idea on the next bunch of songs we will be releasing, and ‘Untethered’ feels like the next perfect step towards those. → We did a lot of the writing remotely Inspired by the way BMTH wrote their EP, we did a lot of the writing for our EP remotely via Facetime and a plugin called Audiomovers, which basically lets us see each other and hear the writing session from our homes. With the guys living spread out across South Wales and Jessie living in Birmingham, remote writing meant that we could “virtually” get together often to write, without having to travel. We used these technologies to break apart the music, work on melodies and write lyrics on a collaborative document using Google Docs, so we could work on them together in real-time. We did most of the work this way, which meant that when we actually did get together in real life, we only had to iron out a few small bits before hitting the studio. → We recorded these songs last minute over different sessions.

We recorded these songs with Oz Craggs at Hidden Track Studios in Folkestone. As we kinda left it until the last minute, it meant we had to record each track separately over three different sessions due to availability.

We recorded the first single ‘Taunt Me’ back in September, ‘Comfort In Chaos’ was recorded a week after the release of ‘Taunt Me’ in October, and the third track (yet to be released) we recorded in November. It meant a lot of back and forth going to Folkestone (which is really far away!), but it was worth it in the end. → Jessie fell back in love with writing music during lockdown Jessie has released so much emotion

and pent-up anger into these songs.

From haunting feelings within her soul, her insecurities, and the split-second chaotic choices she’s experienced. She’s learned the hard way that not everyone that is nice to you is your friend. she had been angry for so long, which sunk her into the darkest place she’s ever been. she had become the worst version of herself. It wasn’t until recent years that Jessie felt so much growth, and today she feels mentally stronger than ever. It wasn’t until during the pandemic when Jessie was furloughed for six months that she fell back in love with writing lyrics and melodies, which gave her the opportunity to write all these emotions into music. The songs on this EP are an encapsulation of those emotions and are about letting go of her previous struggles, untethering her from a bad version of herself. → The elephant in the room: A new line-up Towards the end of 2021, Dream State at the time (CJ, Aled and Rhys) were looking to recruit a new drummer and bassist, and the band had their eye on Tom and Jake, who were briefly in the band before Rhys and CJ left. It wasn’t until earlier this year, in March, that we found Jessie to complete the new lineup for the band. We knew that keeping the band going would be met with mixed reactions, but we’re doing this to keep the music alive, both for ourselves and for the fans out there who still want to see the music live and hear new music. We understand that it won’t be for everyone, and that’s ok, but at least the choice is still there for the fans who still wish to continue their journey with Dream State.

Dream State’s EP ‘Untethered’ is out 3rd February.

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ESSENTIAL ALBUMS 2023

IT FEELS LIKE THE MOST EXCITING AND FUN PVRIS ALBUM ” LY N N G UN N

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As we enter a new year, we can look forward to a wealth of new music to discover. With so many exciting potential releases on the horizon, from established artists to up-andcoming acts, here are some of the albums that you’ll want to keep an eye on in 2023.

PVRIS → Producer, singer/songwriter, and multi-instrumentalist Lyndsey Gunnulfsen is planning to make a splash this year with the release of a brand new PVRIS record. Following her triumphant recent return with singles ‘ANYWHERE BUT HERE’ and ‘ANIMAL’ via Hopeless Records, and with a UK and European tour running from the end of January, it’s the start of something big.

Hey Lynn! How’s it going? Are you looking forward to a brand new year?

Hi! It’s been going great; I’ve been working on finishing up the new album and adding the final touches. Definitely looking forward to a new year; I feel a good momentum building for it.

We hear you have an album on the way - how’s it coming along? If you had to guess, what percentage of the way through it are you?

I’d say it’s about 70-80% done! I’m currently finishing it up over the next few weeks before the holidays.

When did you begin work on the record? Was there a specific starting

point?

I’m always writing and working on music and collaborating, so there wasn’t really any “the album starts now” moment at the time. But in retrospect, now that it’s about finished up, if I had to pinpoint a definitive “album” moment, it definitely was a little over a year ago when JT and I were working on ‘Anywhere But Here’ and ‘Animal’.

Those songs coming together felt like the initiation of it and really carved out the sounds and concepts that have really defined this next chapter of work.

How does it compare to your previous material?

I think there’s a bit more levity, excitement and fun? I was listening to some bounces in my friend’s car the other day, and they said it feels like the most exciting and fun PVRIS album and every song really holds its own. It has really felt like that in the process too; every song in its initial creation started with a lot of excitement and energy.

Can you let us in on any of the track names? Do you have a favourite on there?

Hmmmm…. I don’t think I can share any names. It’s impossible to pick a favourite; they’ve all got their own magic.

When do you think we’ll be able to hear the album?

100000% in 2023.

Do you think the record will surprise people?

I certainly hope so! What fun is art that is boring and expected?

Is there anything else you can tell us?

Expect a lot of high energy.

What albums by other artists are you excited about for 2023?

Hmmmmm… I don’t really know who’s putting a new album out next year, to be honest - I feel like I live under a rock these days. The new SZA album just dropped, so I think that’ll be in heavy rotation for a good part of 2023. I’m also praying that a new Rihanna album is heading our way next year.

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MEET M @ THE ALTAR → It feels like we’ve been waiting for Meet Me @ The Altar’s opening statement for ages, such has been their impact - and this year we’re finally going to get it. Tea fills us in on the band’s debut album plans.

Hi Tea! How’s it going? Are you looking forward to a brand new year?

Yoooo, it’s going fantastic! 2022 was our biggest year yet, and we’re just getting started, so I’m super duper excited to see what 2023 has in store for us.

We hear your debut album is nearly here - how’s it coming along? Is there much left to do?

It’s about time!! We just wrapped up the album officially (we kept writing songs we wanted to add to the album, so we delayed it ourselves, oops). This debut album is a collection of the best material we’ve ever written, honestly.

How did you approach curating the tracklisting? Was it tough to decide what to include?

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WE ENDED UP WRITING WAY MORE SONGS WE LOVED THAN COULD FIT ON THE ALBUM” T É A CAMP B E L L

It was super tough for us to decide the final tracklist because we ended up writing way more songs we loved than could fit on the album. We kind of made songs of similar vibes battle it out for a spot on the list, and the ones currently there are the strongest contenders out of the bunch. We just wanted to make sure we created the most cohesive album we possibly could.

ME

MEET ME @ THE ALTAR

Photo: Jonathan Weiner.

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ESSENTIAL ALBUMS 2023

Can you let us in on any of the track names? Do you have a favourite on there?

Our collective favourite is a track called ‘Kool’ (spelt with a ‘K’ ALWAYS!!!). It’s the love child of everything we’re into musically: rock’n’roll guitars with crazy catchy pop-inspired vocals on top. That one’s a head bopper for sure!

Do you think the record will surprise people?

I think fans of our old music might be a bit surprised that our sound has transitioned from breakdowns to groovier catchier melodies and progressions, but there’s something for everyone on this record. We didn’t stick ourselves in a box for this record and fused elements from all our favourite genres with rock.

Where do you hope the album will take you?

MM@TA will not stop until we reach world domination, and we hope this album will open the doors we’ve been dreaming of opening. We WILL win Grammys, we WILL play stadium tours!

What do you think are the key components of a really great debut album?

Cohesiveness is probably the most important component of a great album in general. We’re let down so often by albums that have two or three really good tracks, and the rest are so far off from the standard of the singles. Every song should be solid enough to stand on its own.

For a debut specifically, we think it’s important to play around with pushing musical boundaries to prevent trapping yourself in a certain sound.

Is there anything else you can tell us?

We’ll be playing the majority of our debut album on our North American headliner this spring with Young Culture and Daisy Grenade!! It’s gonna be quite the party!!

What albums by other artists are you excited about for 2023?

We’re all super stoked for Paramore’s new album. Fingers crossed that we get to open for them one day.

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NOTHIN NOWHE → Billed as “the most ambitious thing

[he’s] ever done”, nothing.nowhere. is tantalisingly close to unveiling his brand new album, the follow-up to 2021’s ‘Trauma Factory’.

Due (a little bit) later this year, it’s a record packed with surprise guests that sees Joseph Mulherin reaching for something special.

Hi Joe! How’s it going? Are you looking forward to a brand new year?

It’s going great; I’m playing shows and minding my own business.

We hear you have an album on the way - how’s it coming along? If you had to guess, what percentage of the way through it are you?

100%. Just got all the features in. This record will change the game, I promise.

When did you begin work on the record? Was there a specific starting point?

I guess January 2022. I started with ‘MEMORY_FRACTURE’. It’s been almost a year now.

How does it compare to your previous material?

It’s just better in every way. More

BABYMETAL

Title: The Other One Release Date: 23rd March → Babymetal’s new LP is a concept album that takes the listener on an otherworldly journey through 10 parallel universes, known as the Metalverse. Each universe is represented by its own unique song, exploring new sounds and themes that move away from the sound that first broke them through into the wider consciousness. Still, nothing’s ever going to be

ambitious, heavier, better executed... the list goes on. I’m proud.

Can you let us in on any of the track names? Do you have a favourite on there?

It’s a secret. It’s really hard to choose a favourite. Every day I feel like I have a new one.

When do you think we’ll be able to hear the album?

Sooner than you think.

Do you think the record will surprise people?

Absolutely. It’s the most ambitious thing I’ve ever done. The features alone make me smile.

Is there anything else you can tell us?

Mosh pits incoming.

What albums by other artists are you excited about for 2023?

I have no idea if any of these artists are dropping an album, but it would be nice to see new records from One Step Closer, Gridiron, seeyouspacecowboy, Moodring and Static Dress.

boring here.

BRING ME THE HORIZON

Title: TBA Release Date: TBA → Bring Me The Horizon have been on their POST HUMAN EP tip for a while now. From 2020’s first instalment, bar a few tracks here and there (2021’s ‘DiE4u’ and last summer’s ‘sTraNgeRs’), it’s been a bit of a wait for the next edition of the four-parter.

Surely it must be coming soon?

CODE ORANGE

Title: TBA Release Date: TBA → Genre-hoppers Code Orange experimented with a variety of sounds over the past decade, from hardcore to industrial and nu-metal, making each record a distinct part of their history. Back in 2021, they revealed that they had tapped Smashing Pumpkins mastermind Billy Corgan for an upcoming project - as of yet, we don’t know what it was for. Maybe 2023 is when we find out?

Photo: Jonathan Weiner.

NG, ERE NOTHING, NOWHERE

ESSENTIAL ALBUMS 2023

HO MI

OT MILK → Manchester emo power-

pop duo Han Mee and Jim Shaw, aka Hot Milk, are another band who’ve been working towards their debut album for bloody ages, dropping buzzy hit after buzzy hit, and a string of wellreceived EPs, including recent release ‘The King And Queen Of Gasoline’. Will 2023 finally be the year? Yes! It’s nearly finished, in fact.

Hi Jim, how’s it going? Are you looking forward to a brand new year?

Hey hey! You’re speaking with Jim. Abso-bloody-lutely, we’ve got loads of exciting stuff already in the pipeline, including our debut album!

We hear your debut album is nearly here - how’s it coming along? If you had to guess, what percentage of the way through it are you?

We’re in the final stages right now; I’m actually on a plane on the way back from Sweden, where we’ve just tracked our lead vocals on all the tracks and written the final song. Not gonna lie; it’s been a SLOG as we’ve been juggling the writing and recording with a busy touring schedule. I’ve also recorded and produced the majority of it from my home studio, so it’s been all we’ve lived and breathed for

the last good few months, but we’re super buzzed about how it’s shaped up and can’t wait to show it to the world! I think we’re about 87.952% done.

How are you finding curating the tracklisting? Is it tough to decide what to include?

This was actually way easier than I anticipated. The first thing we had in mind when we started forming the album was the opener. We wanted something that focused on Han and my vocals, setting up our back-and-forth vocal style that you can hear throughout the album. The album has quite dark theatrical overtones, so I guess this track is welcoming you to the horror show…

We also knew we didn’t want the album to just be a collection of singles. We wanted it to have an identity and be fluid. We’ve also created some interludes to move between tracks and help change the mood from one song to the next.

We didn’t have a great deal of time to ponder too hard on how and what to do due to deadlines, but we work well under pressure, so I feel the album is quite focused and a really good representation of what Hot Milk is right now.

HOT MILK

Can you let us in on any of the track names? Do you have a favourite on there?

Not just yet, as we’re still finishing it all off, and everyone likes surprises, no!? Hard to pick a fave, but I think maybe the second track as it comes out of the huge, euphoric opener into this dirty riff and drum and bass. The whole track is a bit of a ride, and it gets me pumped!

Do you think the record will surprise people?

I hope so! I just want people to listen to the record and think, ‘fucking hell, that’s wild’. We’ve really pushed ourselves to try and push the boundaries of Hot Milk, and if we can keep people on their toes, but they still enjoy it, then we’re doing something right!

Where do you hope the album will take you?

We’re really grateful that our EPs have taken us all across the world. This year we got to play Australia and America for the first time, and next year we have South America too.

Mental! I hope that the album will keep taking us to amazing places and festivals; I’d love to go back to Japan!

What do you think are the key components of a really great debut album?

I think it’s your first proper stamp on the musical world, so it’s really got to encompass what you are and the breadth of what you sound like. I think each song has to have its own moment or vibe; otherwise, you can be in danger of making the whole thing sound the same. That’s just my point of view, though; this is obviously our first debut album, so I’m no professor!

Is there anything else you can tell us?

We’ve got a few features and collabs on it. It’s been really fun exploring and linking in with other incredible artists. I don’t want to give too much away though, shhhhh….

ENTER SHIKARI

Title: A Kiss For The Whole World Release Date: 21st April → After two years of relative silence - at least in recorded form - Enter Shikari’s seventh LP ‘A Kiss For The Whole World’ was conceived after the band’s headline performance at the Download Festival Pilot in 2021, where frontman Rou Reynolds realised the importance of a physical and human connection to his creative process. Recording the album was a return to basics, with Reynolds and the band decamping to a farmhouse in Chichester and using solar power to capture their renewed momentum.

Reynolds describes the album as “an explosive reconnection with what Enter Shikari is”; the beginning of a second act for the band.

PARAMORE

Title: This Is Why Release Date: 10th February → Is there a more exciting prospect in 2023 than a new Paramore album? Of course there isn’t. An echo back to mid-00s indie sleaze, pushed through a prism of big guitars and Hayley, Taylor and Zac’s genre-hopping genius - yet again, this is Paramore like like you’ve never heard them before.

WATERPARKS

Title: INTELLECTUAL PROPERTY Release Date: Spring 2023 → Waterparks’ latest offering, ‘INTELLECTUAL PROPERTY’, is set to be released in spring 2023 via Fueled By Ramen.

The band has been giving fans a taste of what’s to come with the release of tracks such as ‘FUCK ABOUT IT’ featuring blackbear and ‘SELF-SABOTAGE’, which was given a fresh take through a collaboration with Good Charlotte, and even a dance remix by MCD4. Really, though, all you need to know is it’s Waterparks. Chaos will follow.

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COVER FEATURE

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YOU ME AT SIX

Confronting the truth can be difficult, but for You Me At Six’s Josh Franceschi, it was the spark that lit their brilliant new album, and a return to reclaim their roots. Words: Jack Press. Photos: Sarah Louise Bennett.

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COVER FEATURE

hen all the lockdowns were lifted, we took life for a joyride, flocking to festival fields, taking back the dancefloors, and putting local boozers back on the map. Some of us are still racing down life’s highway at 100 miles per hour; others hit a bump in the road.

You Me At Six’s Josh Franceschi set his car on fire and drove it off a cliff.

“It was Christmas Eve, I had a big night the night before, and I spent the whole day just being violently ill to the point where I had what I can only describe as a panic attack. This was that ‘oh, no, I’m gonna die’ shit,” Josh reflects as he strolls down the Brighton seafront avoiding all the seagulls on a Tuesday lunchtime.

With the car pulled over and his girlfriend “completely petrified”, Josh saw his life flash before his eyes. The Number 1 albums and sell-out shows didn’t matter; this was “the catalyst for me to recognise when I’m about

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YOU ME AT SIX

to self-destruct. This was the final warning, or I was going to completely fall apart.”

So, he got sober for six months, which allowed him to “completely integrate a level of discipline and routine into my life which I hadn’t had before.” It helped him clear the clouds on his past self, visualise what he wanted to do, and manifest who he needed to be. “It was pretty integral to having a mindset which was really clear and healthy.”

Putting booze on the backburner meant Josh was “the healthiest I’ve felt mentally for a very long time,” he explains, having “only allowed drinking to come back into my life for highlight moments, like celebrating something.” In fact, now he’s not “in the pub five times a week getting shitfaced,” he could crack on with making his band’s next move.

Staring the stone-cold truth in the face, writing the songs that have become the eighth You Me At Six album, ‘Truth Decay’, was

like staring down the barrel of a gun as it goes off. Following up on your first Number 1 album in seven years isn’t simple, but sobriety sure helped figure out the bare bones of it all.

“My friend who has been sober for two years said the biggest thing you find when you’re living a life of sobriety is you have to confront everything, there’s nothing you can’t escape, and I felt that making this record.”

“Being able to have that ability to confront something uncomfortable as an anchor and then aggressively go after my targets and what I wanted out of these situations and being able to articulate things better just made for a healthier dynamic. I’m not trying to do virtue signalling, but it’s amazing how you can truly understand yourself in a much healthier position if you allow yourself to, and you want to, and you’re disciplined enough.”

With his ticker back in top shape and his mind honed, writing retreats in the Cornish countryside and recording

THE MORE VULNERABLE YOU ARE WITH YOUR MUSIC, THE MORE PEOPLE CAN RELATE”

JOSH FRAN CESCH I

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COVER FEATURE

YOU ME AT SIX

sessions in the Santorini sun saw Josh, bassist Matt Barnes, drummer Dan Flint, and guitarists Chris Miller and Max Helyer take on complex topics such as mental health, negative cycles of behaviour, and toxic masculinity.

“I didn’t have the intent of wrestling my demons; I didn’t sit down one day and have this premeditated thought of going to write about how fucked up we were and how, on a human level, we should’ve done better for one another, and how I wish I was a better friend or a better son or a better partner or a better brother.

“I didn’t sit down with that in mind, but it’s one of those things that when you’re making yourself available to feel it, I had a very clear understanding of how vulnerable I could allow myself to be. I think there’s something in the more vulnerable you are with your music, the more people can relate to it because they feel themselves in the songs.”

These creative realisations, these emotional epiphanies that seep through ‘Truth Decay’’s sights and sounds weren’t just from going sober. With tenth-anniversary shows under their belts for breakthrough ‘Sinners Never Sleep’, they saw themselves timehopping back to that and the albums that bookended it – 2010’s ‘Hold Me Down’ and 2014’s ‘Cavalier Youth’.

“When we sat down to make this record, we were coming off the back of making ‘Suckapunch’, which is such a creative car crash of different sounds and different bands within the same record. We don’t really feel like You Me At Six on that record has an identity, like who is this band?

“One night, we spent a long time just listening to our favourite bands and our favourite records they’ve made, then going onto our favourite records that we’ve made, and we landed in 20102014, where we felt we’d established a place for ourselves in everything. We were that emo rock band from England that were massive – that was what we were and who we were and ‘Truth Decay’ is us trying to reclaim that for ourselves.”

Reclaiming what was once theirs felt like a sign of the times. With the likes of Blink-182, My Chemical Romance and Paramore returning, You Me At Six were down for it; they wanted in on the action. While there’s “been a bunch of artists that have done the emo, pop-rock, pop-punk sound and positioned it in the mainstream consciousness again,” that’s made it all feel like “a really important time for this genre,” says Josh. ‘Truth Decay’ offers

THE BIGGEST THING YOU FIND WHEN YOU’RE LIVING A LIFE OF SOBRIETY IS YOU HAVE TO CONFRONT EVERYTHING” J OS H F RA N C E S C HI something new to the conversation.

“It’s got everything that a great You Me At Six album should have. You get fans that are either on the journey with you the whole time, some people dip in and out, some turn off completely, and some are discovering you for the first time. And this album is the one that if you’ve turned off, there’s every chance you’ll turn back on again. If you’re trying to rediscover your favourite band, hey, we’re here.”

With a mission statement set in stone and the gauntlet thrown down, You Me At Six spent weeks away in Santorini with returning producer Dan Austin. When they weren’t “writing, singing, hiking, swimming”, they were stripping it all back to the band’s glory days. “On the last record, we really pursued this genre-bending thing – I want to do dance music, I want to do RnB, I want to do metal, I want to do punk, and I want to do this. We were trying to please everyone’s appetite, and it became disjointed at times; I don’t know where tomorrow’s going to take us.

“With ‘Truth Decay’, once we started writing, we agreed if it sounded

contrived or it sounded like it aged badly, then we’d go nowhere near it.

But it felt good putting songs together under that umbrella because the last couple of records we’ve made felt foreign, whereas this felt familiar – I knew what the next step was instinctively.”

By recognising their missteps, reclaiming their identity, and riding down memory lane, You Me At Six opened themselves back up to the things they’d lost sight of. On album number eight, it was time to stop aiming for targets and just shoot for fun.

“It’s difficult being on your eighth album and hitting a moving target every time; it’s difficult to land it exactly the way you want to. I think the best songwriting we’ve ever done has been instinctive, almost kneejerk songwriting, and I think that’s what ‘Truth Decay really is.

“There’s not this endless peril of getting in these creative holes of, fuck; what do we do now? How do we do something with a middle eight? And no, we shouldn’t have a middle eight because our manager’s told us TikTok’s Upset 23

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a whole thing, and we’ve gotta keep songs under two minutes.

It’s all the bullshit that plagues the conversation; you go through hurdles trying to black that out.”

If they weren’t heading for breaking point, they were certainly banging their heads against invisible walls.

‘Suckapunch’ might’ve sent them back into the public eye and back into arenas, but ‘Truth Decay’ reverses the curse, Josh explains.

“It’s like we’re simplifying everything; that’s why we’ve reversed the type with the kind of music we’re making. Sonically, it’s stuff that we know and therefore facilitates a more honest interpretation of the band.”

When you take a trip down a rabbit hole like memory lane, you run every risk as a band of retracing your steps like you’re treading water. ‘Truth Decay’ was born out of knocking on the door of those fears and facing them headfirst. “In its simplest form, this is us not overcomplicating it. So, doing stuff to keep it interesting for ourselves, and to contemporise what could sound like an old sound for the band. Sometimes you have to go backwards to go forward, and that’s what we’ve ended up doing on this record: going back to move forward.”

If they’re going backwards musically, lyrically, ‘Truth Decay’ thrusts them forward. Starting by asking themselves questions like, “What is real? What isn’t? Who is genuine?”, they got caught up in the world’s problems like a conspiracy theorist does the dark web.

“I do think we’re living in a period of history where we’ve lost touch with what’s important in more ways than one. Social media has made us absentminded, hellbent on validation from people and algorithms, and stuff that completely takes away the heart of something like music, truthfully.

“You find yourself being more intrigued by how many streams a song’s had or how many views

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YOU ME AT SIX

a video’s had versus another human being screaming the words back at you all night and at the end of a show tells you that song saved their life. I think it’s still there but smothered in other bullshit.”

Sending themselves spiralling, You Me At Six found symbolism in the concept of ‘Truth Decay’ as a title. “It’s referring to the variations of something being true or not depending on how you’re digesting it or which side of the table you’re sitting on because everybody supposedly speaks their truth, right?

“People have now swapped over what’s factual and what is an opinion and claimed it as fact. Just because somebody is projecting their feeling is true, how much of that is actually eroded away with other stuff? How much of that is

compromised?”

If ‘Truth Decay’ is the theme, the songs within it are the essay. Take the windows-down, shotgun-riding anthem ‘A Smile To Make You Weak(er) At The Knees’, for example. As Josh sings, “I got friends on the internet, they surf their fears but never get wet, they wanna make it whatever that means, living ain’t easy, it ain’t easy”, they’re pulling the wool from social media obsessed eyes.

“It’s about the ever-relenting bullshit; it’s what we’re pinning our biggest insecurities to; it’s that validation through a screen or whatever. It’s like, when are you ever really in it in real life?

We have a rule in our house that phones are away past 8 o’clock at night. If we’re sitting down to have dinner or going for a walk, and my girlfriend gets her phone

IT’S GOT EVERYTHING THAT A GREAT YOU ME AT SIX ALBUM SHOULD HAVE” JOSH FRAN CESCH I

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out, I’m like, wake up because you’re gonna miss what’s in front of you.”

Without sounding “like a bit of spiritual young Jedi”, Josh’s move to the seaside of Brighton was what saved him from overdosing on screen time. “Living by the seaside is a healthy reminder that everything that feels so massive when you see something like the ocean, you realise how small it is.”

“That’s not to say it’s insignificant; it can still hold importance to you, but in the grand scheme of things, there she is. If she wants to fuck you up any time, she can. And look at how beautiful it is; this is something that has always been and will hopefully always be; it’s calm and ferocious all at the same time.”

In many ways, the rising tide of the ocean and its crashing waves are symbolic of ‘Truth Decay’. Some of its most beautiful sounding tracks (‘Mixed Emotions’, ‘A Love Letter To Those Who Feel Lost’) are some of its heaviest. After 18 years of being in a band, this is an album that reflects life’s changing seasons as you blossom and grow.

“You get to certain moments

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in your life where things start to change to what you hold dear and what holds serious weight to your thoughts, and your actions change,” Josh enthuses, proud of the personal growth that ‘Truth Decay’ finds its roots in.

“I’m not going after anybody.

Even on a song like ‘No Future’ where there is spite and there’s anger, it’s more about being resilient, definitive, and strong and saying, ‘Look, I know you’re trying to fucking take me out here, but you can’t’. It’s not a ‘fuck you’, it’s not about challenging someone who’s saying you’re too weak or you’re a piece of shit, it’s about saying only I can pull the pin, not you.”

Songs like ‘No Future’ are the sound of a band accepting change in their own house of flies. You Me At Six have had their fair share of flack over the years, but they’re becoming better human beings, and they hope others can learn that too.

‘Who Needs Revenge When I’ve Got Ellen Rae’ is a watershed moment for Josh, a life-altering song for a life-changing songwriter.

“It’s me finding out something I thought was one way is actually completely another and

YOU ME AT SIX

IF YOU’RE TRYING TO REDISCOVER YOUR FAVOURITE BAND, HEY, WE’RE HERE”

JOSH FRANC ESCHI

swers or needing an their rather than meone to justify y so requiring to take on board m t o actions or ’s like fuck it, I’ve g d feelings, it erson in my life an I’m p this other at really matters so ic, p that’s all th away from that to k gonna wal from that feeling.” id walk away doing a Craig Dav Without nging about si ly and literal ay, ‘Truth Decay’ is walking aw Six acknowledging t You Me A protect their to e their past d prevent the sam e present an om occurring in th lffr problems the self-love and se future. It’s t we could all use e en developm and for Josh and th u o , right now urse-correcting Y co band, it’s evolution. ’s Me At Six t us all of a sudden “Withou uous and this ambig , becoming , we have matured d floaty ban e grown up. ‘Truth ld and we hav hat this band shou w Decay’ is if we had continued sound like we were doing up doing what

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until 2014; that’s how we should have refined our sound.

“It should feel sincere and without being too much of a departure from the band on ‘Cavalier Youth’. If we went straight to ‘Truth Decay’, that’s the journey it would’ve been on if we had taken a sabbatical from music. It’s not to take away from ‘Night People’, or ‘IV’, or ‘Suckapunch’ or whatever, but if those records are the spine of the band, ‘Truth Decay’ would be the head.”

That kind of clarity doesn’t come overnight. For a band who’ve built themselves on being underdogs, it’s taken nearly two decades to feel comfortable in their skin. In fact, it’s

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taken just as long to realise they belong – even if none of this was the plan.

“It’s bizarre because we’re just a bunch of ordinary dudes doing something pretty extraordinary, and the band has been the vehicle for that,” Josh laughs at the mention of nearly leaving the band’s teenage years behind. “I always find it a headscratcher when that conversation of how long we’ve been doing it for comes to the surface.”

“When I left college at 17, I didn’t think I would still be doing what essentially was just my hobby, purely something that was an escape from the monotony of normality. There was

no expectation past, can we maybe make one album? Can we maybe get signed to an independent record label?

Can we play actual venues with actua l staff versus floor shows at fucking pubs to four people? It was very lowend scale, so it’s remarkable to still be in the conversation.”

It’s safe to say staying in the conversation hasn’t always been easy. You Me At Six have been on a rollercoaster of a career – and that’s saying something for a band who’ve had their own theme park ride – but they’ve stayed the course and climbed back up the mountains they’ve move d.

They’re no strangers to it; they know the drill.

YOU ME AT SIX

SOMETIMES YOU HAVE TO GO BACKWARDS TO GO FORWARD, AND THAT’S WHAT WE’VE ENDED UP DOING” JO SH FR AN CE SC H I

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“It’s a pretty huge accolade because longevity in music can be problematic,” Josh sighs as the seagulls swoop past his phone’s speaker. “Not everyone gets it - some people get a couple of albums and a handful of years, and it’s done.”

The scene they grew up in has all but disappeared. The same bands they toured the country with and shared hype lists with have been lost. But not You Me At Six; they’re standing tall like statues. Not that they were ever expected to still be here.

“Ironically, it’s probably us and Bring Me The Horizon who were like the Marmite of the MySpace era in terms of how much we polarised. You were either really proud to say you’re a fan of the band, or you were like, ‘That’s the worst fucking band on the planet’.”

So if half the world thought they were the worst band on the planet, what’s been the secret to their success? How are they releasing their eighth album in 18 years while so many others fell by the wayside?

“I think it comes down to luck and how you nurture it once you have it. I’d like to think if people were to talk about You Me At Six without us in the room, the majority would say we’re good people, that we’ve behaved with a certain morality which I think does serve you well.

“I’ve seen a lot of bands that I came up with let themselves down with the way they behaved or the way they saw it as even just 500 people coming to a club to watch them was a given.

I don’t think there’s ever been a gig I’ve played where I haven’t

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YOU ME AT SIX

SOME PEOPLE GET A COUPLE OF ALBUMS AND A HANDFUL OF YEARS, AND IT’S DONE” JOSH FRA NC E S C HI

‘right, gone on stage and been, and earn time to fucking show up m full it’. You’ve got to earn a roo and ds of people singing your wor going crazy.” lves They didn’t teach themse e from that lesson, though; it cam nd following other bands arou er them. In Josh’s mind, Ent ’ve Shikari stole the show. “We r for been orbiting one anothe Our the best part of 16 years. s earliest memory of succes in was playing a youth centre with ari, Guildford with Enter Shik med there being 400 people cram g bein into a room that holds 75, afe, uns completely over the top, at going DIY. They were the best ntry, to any town around the cou pub a plugging in and playing at and it being chaotic. of “They were always ahead n bee everybody, and I’ve always ’re super aware of what they a fan doing, and truthfully just the of them as people. We had t ugh song ‘No Future’, and I tho ate Rou [Reynolds] could elev re it the song and take it whe e that needs to go; it has to hav moment.”

With Rou on board for one it feature, they’re helping pay g star forward by bringing on risin ay’’s Cody Frost for ‘Truth Dec To grand finale, ‘A Love Letter e’s Those Who Feel Lost’. “Sh that a beam of light; she’s got ul wilf colourful character, that voice – spirit, and that beautiful

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WE’RE JUST A BUNCH OF ORDINARY DUDES DOING SOMETHING PRETTY EXTRAORDINARY” JOS H FRANC E SCHI

she’s going to be an interesting artist for people to go on the journey with. She gets down, but she gets up almost just as quick.”

But it doesn’t matter if you’re festival-headlining Rou Reynolds or up-and-coming superstar-inthe-making Cody Frost, you don’t get on a feature with You Me At Six for being a name. You have to earn that right.

“What’s cool is both features have the You Me At Six DNA in them – some people have it, and some people don’t, and Cody and Rou have it. They’re artist’s artists. There have been some artists who were meant to be on this record that, because of the behaviour of people around them, were doing lacklustre performances – I don’t want you anywhere near a You Me At Six record.

“Don’t get it twisted; you’re being asked to be part of something that’s gonna be fucking great and gonna be

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YOU ME AT SIX

special to a lot of people. And if you’re not gonna feel it and treat it with that respect and that full sense of gratitude, then don’t worry about it, you’re just a name on a song, and that’s all you’re gonna be.”

That mentality has helped ‘Truth Decay’ develop into the definitive You Me At Six album.

The same mentality has helped keep them on the straight and narrow for so many years. It’s why Josh has no problem hopping on features with bands like Yours Truly – “I think they’ve got that thing about them, and whether they make it to be the biggest band of all time is irrelevant they care about the right things and understand how to treat people and how to behave.”

More to the point, ‘Truth Decay’ exists today because

You Me At Six have never compromised. They’ve stood their ground, no matter who tried to hold them down. “You’d do well to sniff out some bullshit on You Me At Six because there isn’t, because what it is, is what it is.

“We’re just a group of mates who understood we’re not that fucking special. We’re not superstars and rock stars, we’re not doing gear in toilets of clubs, we’re just a couple of lads who love each other, we love what we do, we care about the people that invest in us like our friends, our family, our fans and that’s it. Win, lose or draw, if you’re surrounded by people who’re about the real shit, none of the other noise really matters.” You Me At Six’s album ‘Truth Decay’ is out 10th February.

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CRAW

With each new year comes the desire to refresh the ranks of music’s front line. We’ve gone through our notes, compiled our lists, and come up with some suggestions for the new bands you need to hear in 2023.

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AWLERS CRAWLERS

Over the past year or so, Crawlers have already made a sizeable splash in rock’s deep end. Now, with a debut album to work towards, it’s less a question of if, and more a matter of when they take over the whole joint.

Words: Steven Loftin. Photos: Patrick Gunning. → If anyone deserves a bit of a break, it’s

Crawlers. The Liverpool four-piece have been busy all of 2022, and 2023 looks set to be just as mad. But, it’ll take something special to top their parents getting tattoos.

“My mum said she’d get a tattoo if we ever got Number 1. So she has to get a tattoo now!” drummer Henry Breen smirks.

After a rogue promise, the band achieved Number 1 on the rock charts with their debut mixtape, ‘Loud Without Noise’.

“I think she thinks I’ve forgotten, but I haven’t!”

It’s this kind of anecdote that sums up Crawlers. An affecting energy that carries any who’ll listen away, ‘Loud Without Noise’ brought everything the four-piece had been working on since 2018. Originally a trio consisting of vocalist Holly Minto, guitarist Amy Woodall, and bassist Liv Kettle, Henry eventually joined. After a viral hit with ‘Come Over (Again)’, the rest

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CRAWLERS

is history.

But this past year, a whirlwind in all its glory, has helped Crawlers double down on what kind of band they want to be. This is why when the inevitable question on the potential debut album crops up - as it has been in every chat they’ve had this side of ‘Loud Without Noise’’s release - a conversation opens up about their dedication to being the best version of the band they can be. “’Loud Without Noise’ was a really good moment for us to, off the back of ‘Come Over’, because [that] was the song that made us realise we can do whatever sound we want,” Liv explains. “We took those limitations off of ourselves, and I think ‘Loud Without Noise’ was a really good way for us to experiment with that and push ourselves in that way and prove to ourselves as well like what we’re capable of.”

This is what the coming year is all about for Crawlers. “For me, it’s always at the forefront because it’s a big deal,” Liv mentions on the weight the debut album is having now they’re post-mixtape. “And we want it to be a reflection of us, and we want it to be exactly right, like how we all envision it.” The plans for the future are to balance the pressure “because yes, some pressure is good, but there is a difference between good pressure and just pressure where you get nothing out, and you get really frustrated at yourself. I suppose, for me anyway, it’s always kind of sat there, but it’s not like an impending doom kind of thing.”

Where their past offerings have been as likely to rock out with a sinister smile as they are to step back and let emotion breathe through the corridors of Holly’s mind, for the full-length endeavour they’re aiming for what Henry and Liv refer to as a “sonic thread”. “Especially because our mixtape, the whole point of it was we were doing really different styles all in within the space of six songs,” Henry explains. “And I think with the album, we need to sit down and really understand what we want running through all the songs and what themes, and how consistent we want it all to sound.”

With individual music tastes colliding, Crawlers’ addictive concoction means that “there’s always going to be those crossovers. Even when we were starting the band, and as we’ve sort of grown as people, we still have those core bands that we all turn to for inspiration. But what we don’t want to happen is it just be like, ‘Oh yeah, we want it to sound

‘COME OVER’ MADE US REALISE WE CAN DO WHATEVER SOUND WE WANT” L I V K ET T LE like ‘Nevermind’’. And then the album literally sounds like that - it wouldn’t be us.”

“Obviously, you want it to come naturally,” Henry adds. “But at the same time, you do need to set yourself up. You can’t just wait for like years and just hope that life falls into place.”

It’s hard to argue that things haven’t been falling into place for the Crawlers crew. After support slots with the likes of My Chemical Romance and Maneskin, their fans are growing in number. It’s this fact that they’ve had to reckon with, thanks to their growing success. “We were very, very close with our fans, interacting with them 24/7 and things like that, but when we were starting out, it was a lot easier to handle because there weren’t so many… And I mean that in like the least assholey way possible!” laughs Liv. “It’s becoming a little bit difficult to navigate how to still keep that closeness with the fans while sort of keeping that personal barrier,” she continues. “I think that’s something that we’re still kind of learning that we don’t have to be switched on all the time. We can take days off, and you know, there are better ways to handle situations.”

On top of kicking the year off with a US tour, they’re also set to take to the stage at Download this year, a

moment that Liv has been waiting for on a personal level for years. “I’ve wanted to go to the Download since I was knee-high to a grasshopper. This is a really big moment for me,” she enthuses. “I think that’ll be interesting because we will be the one that’s not completely like metal, but there are definitely those influences in some of our tracks.”

But they’ve got a potential trick up their sleeve, perhaps a nu-metal version of their breakout cut ‘Come Over’. “Holly keeps telling people that we’re doing it. We told all of our team as a joke at first. We were like, ‘Oh, we’re gonna do a metal version’. But Holly actually went and told fans that we’re doing it,” Liv chuckles.

And as for what that sound is when they’re not prepping for hallowed metal stages? Well, there’s no one answer. Henry reckons they have stumbled across it, but it’s more of a lightning strike brought together by the four of them rather than, say, a familiar sound a la Metallica’s thrash.

Plus, it’s something they want to keep toying with. “Next time we get into the studio, I want to do a really weird song that we haven’t done before,” he says.

“But then again, I feel like the Crawlers sound just comes from us individually as musicians, no matter what style we do. So I think yeah, we have found the Crawlers sound.”

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E

SCENE QUEEN

→ Introducing Scene Queen,

the fiery new voice in music who is captivating audiences with her raw and unapologetic lyrics. With a sound that refuses to be silenced, Scene Queen’s music is a call to action that challenges societal norms and genre stereotypes. Don’t be fooled by her bold and colourful image, she’s a force to be reckoned with, delivering each punchy line with a fierce energy that pierces through any barrier. Her music paints the picture of an emo scene that’s inclusive, diverse and empowered.

Scene Queen’s message of inclusivity is embodied in her own unique style, a blend of vibrant colours and raw emotions, where she breaks down the boundaries and shows that at the core we’re all the same, and that’s what truly makes a scene.

Hi Scene Queen! How’s it going?

What are you up to today?

It’s going amazing! I’m actually taking some time off to hangout with the family a bit.

Tell us about your time as a musician so far - what’ve you been up to?

I just returned from two backto-back tours and dropped my new EP, so it’s been a hectic few months, but I’m very grateful for how well the shows and music is being received.

How would you sum up the Scene Queen vibe?

I actually called the genre of music Bimbocore because I couldn’t think of a better way to explain the project. The music and aesthetic are hyper-feminine and play off of stereotypes people have put on me in the past. But the music is also edgy, aggressive, and in your face. But it’s all wrapped in a little comedic/ satirical pop hook.

Where do your songs come from? Do they have similar starting points?

I’m really into writing with a general theme in mind, even if the theme is as simple as “pink”.

These first two EPs were me building up the foundation of what Bimbocore was meant to look and sound like, so I wrote with the idea of showcasing as many sides of me sound wise while still

I ACTUALLY CALLED THE GENRE OF MUSIC BIMBOCORE BECAUSE I COULDN’T THINK OF A BETTER WAY TO EXPLAIN THE PROJECT” S C E N E Q UE E N keeping in mind that I have to paint the picture of what I want the project to be. Next release, though, I’m excited to dive into more personal topics. Now that you understand what Scene Queen is, let’s find out who she is.

And the theme I have in mind is very funny and fun.

What do you most like writing/ singing about?

I really enjoy taking things that are super serious and making them palatable so that people are forced to listen. Like by making fun of cat callers in ‘Pink Rover’, I was able to get people who would’ve never listened to that song in the first place to be singing it along with me and spread the message. On the inverse of that, I also like having super fun subject matter and making it as heavy as possible, like having full breakdowns screaming about stealing guys’ girlfriends etc. Just taking things in a direction, you wouldn’t expect is the most fun for me.

What does being a musician mean to you?

I truly have never really wanted to do anything other than work in music. But for the longest time, I let people tell me I would only find success doing other things in the industry. But the moment I stopped listening to them and actually pursued the thing I had

always wanted to be an artist, I found my biggest success. So all of this has really given me a confidence I didn’t have before and really forced me to go with my gut more often.

Do you have big plans for 2023?

What’s in the diary?

More tours that I know my fans are gonna be excited to hear about, and I’m not one to wait to release songs, so a lot more music.

If you could check off one thing on your bucket list next year, what would it be?

I really want to do a collaboration with an artist outside the scene.

Whether that be bringing someone outside the alt world into my world or bringing some heavy guitars and screaming onto a pop song. I just wanna spread metal to the masses even more than it already is.

Are there any tours or albums you’re looking forward to from other musicians?

I literally cannot wait for the new Pierce The Veil album to drop.

What other new acts should we be keeping an eye on?

I think there are some insane genre-bending artists coming out of the UK right now with Zand, Wargasm, Nova Twins etc., but I also love the wave of pop rock artists out of the US like The Home Team, Honey Revenge, and Kailee Morgue who aren’t exactly new artist but during the pandemic shifted their sounds into something so nostalgic yet genre-pushing. I can’t get enough.

Is there anything else we should know?

I really try and make my music a safe space because the scene didn’t feel like that for me for a long time, so regardless of whether you look like me, talk like me, or act like me, you are welcome with me and my music.

The scene started as a place where people of all backgrounds were accepted, and that’s the legacy I’m keeping. It’s also extremely important to me to make it overwhelmingly clear with my messaging that it’s a safe space for women and queer people, so if you’re cool with that, you’re cool with me.

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THIS IS ALREADY BIGGER THAN I IMAGINED, AND IT’S AMAZING” JULIAN COMEAU

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Words: Steven Loftin.

→ “I need to piss more people off,”

Loveless vocalist Julian Comeau beams.

It’s true; if you want to get somewhere, you’ve got to get to ruffling some feathers. “Sometimes I see people getting hate comments on TikTok, and it’s like, dang, but they got 500,000 likes on this video... Maybe I should start doing these videos shirtless?!”

While not stoking the hate fire quite yet, as one of 2022’s breakout acts, Loveless found their star rising after a series of covers on TikTok, including Lizzo’s ‘About Damn Time’ and Kate Bush’s ‘Running Up That Hill’. With the views ticker rolling at a considerable rate (‘About Damn Time’ currently sits at a cool 7.4 mil), it’s fair to say Loveless were well on their way. But not wanting to be pigeonholed as a strictly covers act, thanks to some singles, a couple of EPs and an album of original music all being released since 2020 – including this year’s ‘END OF AN ERA’ mixtape – the separation began, and it’s in this spot that Loveless want to exist.

Kindred spirits, Loveless formed in 2019 in Los Angeles. With Julian, alongside multi-instrumentalist Dylan Tirapelli-Jamail, the pair’s musical influence bleeds from jazz, and musical theatre, to pop-punk. And while they certainly err towards the thick, melody-heavy delivery of the latter, the former two genres provide a mature understanding that plays into their ambitions.

“I haven’t said it in a while, but I want to keep telling people we want to be the biggest band in the world until we are,” Julian smirks. “But at the same time, I’m perfectly happy making music for the people that we have now. It’s kind of like me as an artist, and as a person with dreams; I want all the success in the world, but also, at the same time, this is already bigger than I imagined, and it’s amazing, so I’m just so thrilled to be along for the ride.”

Pausing for a beat, he soon doubles down. “Yeah, no, we want to be the biggest band in the world… I don’t want to be Imagine Dragons, I don’t want to sound like them, but I want to be like them, you know? Why not?”

Indeed this seems like a reasonable request, and given they’re united with the simple drive of just “making things”,

LOVELESS

Isn’t TikTok just for people to do dances and become pop stars? Erm. No, actually.

which Julian cites as his favourite part of the project, it’s not wholly unrealistic.

“You could stick me in a studio for two months, and I would just churn out songs,” he says. “I would love to do that.

So I think with proper infrastructure, it’d be really fun to just start making more of it.”

For anyone who stumbles across a Loveless cover while flicking through the bright, shiny eye-injection of TikTok, the hopes from the bands camp are that it’ll be the originals sprouting all over the place soon. “With the right play, that’s definitely my goal,” he affirms. “That’s where I hope we can go [this] year. It’s just doing what we’re doing but on a bigger scale, and with more new original music because I feel like the making stuff, the arranging stuff, the creating stuff, that’s where I think both I thrive and where Dylan thrives… we just love creating!”

This is good, considering these days you have to be a dab hand at every aspect from video editing to directing, let alone the pure and simple act of songwriting. However, Julian reckons “content creation is at this point is its own market, and social media has long surpassed the music industry as far as its influence.” While, yes, this is certainly the talk you’d expect more from a record label’s faceless boardroom up in the sky than a burgeoning artist, when it’s coming from the horse’s mouth, it feels a bit more real. “I think being an influencer is arguably more valuable than being a rock star,” he states.

But that doesn’t mean Julian didn’t have his own starry-eyed ambitions of being a guitar-toting god. “I wanted to be a performer,” he enthuses. From a movie star to a film director and producer, it’s all whizzed through Julian’s head in the hopes of achieving something. “I remember one of my childhood friends was Cuba Gooding Jr.’s son, Mason, [and I] remember being like, I think I want to be an actor,” he recalls laughing.

“I always kind of had high hopes and dreams.” While an anecdote like this may scream LA nepo baby, the truth with Loveless is these are two musicallyinfluenced like-minded chaps who are clocking up the hours in their craft on the line of ‘making it’.

Similarly, akin to the DIY punk ethos

that had kids once upon a time running rampant in the streets glueing flyers to any available public surface in the hopes of getting a few faces down to their shows, the Loveless way is a one-man operation with Julian helming all those socials. “I remind people all the time; it’s just me running the socials. Sometimes I’ll get messages from people being like, ‘hey, to the Loveless social media manager. I just want to say you’re doing a great job’, like I’ll pass it on to the band,” Julian says, eyes rolling. “Yeah, it’s tough managing this tiny little empire we’re building, but I also feel like it would be disingenuous for me to pass it off.

Like I always want to have a hand in the fan engagement; in the posting, I always want to be able to write my caption and hit post because I feel like it’d be weird to have a label doing that.”

This sincerity streams through their original offerings, including titles such as ‘sorry I’m a downer’ and ‘If You Have My Voodoo Doll, Give Me A Hug’. It’s heartson-sleeves all the way to the top, and it’s clear this fervent determination reeks through the duo. As they embark on their debut UK tour in 2023, the internet may be theirs, but they’re coming for our shores too. Simply their lofty ambitions are not to be taken lightly. “Why not aim for the stars?” He shrugs. “You might miss but, I don’t know, I think that’s true of anything really. You gotta go for it sometimes; otherwise, what’s the point?

We’re on a floating rock in space; it’s kind of dope that we get to have any decisions at all… we might as well make some cool ones.”

For all the aspirations, they still have their feet rooted in ensuring they don’t lose themselves in the swell. On what they want to focus on in 2023, Julian mentions, “I think the big thing for me is outlook. I just want to get back on the road and see more people because that’s when we’re at our best. I’d love to just do more, just to do more and do more with a better mindset.”

And if push comes to shove, at least they can stir up a fuss with some shirtless TikToks. “I’ll [even] get Loveless tattooed across my chest!”

Julian cackles.

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→ daisy brain is multi-faceted artist whose music transcends borders and cultural backgrounds. Will Tse, the man behind the name, was born in Singapore and raised in London, drawing inspiration from his unique upbringing to craft a sound that is both dynamic and relatable. As a songwriter and producer, Will creates his work from the comfort of his Hackney bedroom, seamlessly blending together elements of Britpop, grunge and emo. With lyrics that reflect the struggles and triumphs of the Gen-Z experience, daisy brain’s music is an emotional journey that leaves a lasting impact.

Hi Daisy Brain! How’s it going? What are you up to today?

Heyyyy! Thanks for having me. Today I’ve actually been stuck at home customising a bunch of merch for our final show of the year; I think the bleaching is sending me a bit mad, aha.

Tell us about your time as a musician so far - what’ve you been up to?

It’s been an incredible journey. Daisy Brain has only been a thing for just over a year, and we’ve already gone out on several tours, released two EPs, and I can already feel this huge intense support network of fans growing.

Never in my life have I ever imagined being stopped on the street for a picture; it’s a lot to get used to.

Where do your songs come from? Do they have similar starting points?

It changes every time; sometimes, I’ll start writing a tune on an acoustic and start arranging music around it, and sometimes (to be honest, most times) it starts with an instrumental I’ll then write a song on top of.

What do you most like writing/ singing about?

I write a lot about myself and my experiences. I’ve always wanted to

make a song that starts out a bit more like a fairytale where I’m telling someone else’s story, but I’ve always struggled with that. I find it a lot easier to speak about the truth and the people that surround me.

How would you describe your vibe?

As much as the music isn’t sometimes, I’m pretty chill, I guess? I’m not much of an extrovert, which surprises people.

What does being a musician mean to you?

It’s a form of escapism, a source of happiness, and an outlet I’ve always needed. It’s my life, my hobby and now work. I’m extremely lucky and privileged that I get to do it every day.

Do you have big plans for 2023?

What’s in the diary?

Lots and lots of tours, lots and lots of music!

If you could check off one thing on your bucket list next year, what would it be?

America. I want to tour America.

Are there any tours or albums you’re looking forward to from other musicians?

I’m dead excited for Paramore’s new album, and I’m desperate to see them live.

What other new acts should we be keeping an eye on?

We are touring with a band called swim school at the moment, they are all gems, and the music is sick! Well buzzed for them.

Is there anything else we should know?

Keep an eye on hidden gems and easter eggs. The band and I have been working so hard to make the next few releases super special.

I’M NOT MUCH OF AN EXTROVERT, WHICH SURPRISES PEOPLE” DAISY B RAIN 42 Upset

DA BR

→ Meet AlienBlaze, the mysterious singer-songwriter emerging from the UK underground with a captivating blend of dark alt-pop, grunge, and emo. Not much is known about her, but her music speaks for itself, with songs like ‘Romantically Dead’, ‘Hate Me’ and ‘Beautiful Nightmare’ that are a mesmerizing mix of shimmering darkness. Signing with Sumerian Records in 2022, AlienBlaze is ready to conquer the world.

ALIENBLAZE

AISY RAIN

DAISY BRAIN

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WE HAVE A REALLY BUSY YEAR COMING UP” JENNA KYLE 44 Upset

Photo: Rory Dunn.

BLEACH LAB

→ Led by magnetic frontwoman Jenna Kyle, Bleach Lab made a strong impact with their debut EPs ‘A Calm Sense of Surrounding’ and ‘Nothing Feels Real’, produced by the legendary Stephen Street (The Cranberries, The Smiths, Blur). Their latest, ‘If You Only Feel It Once’, is a masterful blend of old-school and newschool, taking inspiration from 90s sounds and pushing the boundaries. From dreamy pop melodies of Alvvays to gigantic glistening singles, and ending with an avalanche of noise, it offers a glimpse into a bright future.

Hi Jenna! How’s it going?

What are you up to today?

Hey! You’re speaking with Jenna. Today we’ve battled the winter weather and snow to practice in London for the DIY Christmas gig on Wednesday!

How did you guys meet?

Whose idea was it to start playing music together?

Josh and I studied music at college together several years back now. We stayed in contact when we went off to uni; when Frank and Josh met in 2017, working on a separate project and needed a vocalist, Josh got in touch with me to come down and see if the fit was right. Later on came Kieran; he joined during the winter lockdown, and funnily enough, Kieran and I didn’t even meet until a few months after he joined!

Do you all have defined roles within the group?

I would say so. Both in practical and logistical terms, as well as musically. We try to collaborate as much as possible with new ideas and developing tracks.

However, there are definitely crossovers with our individual skills and what we each bring to the table. Some of us are definitely more organised than others… oops!

How have you found your time in the band so far - any particular highlights?

In the best way possible, it’s a slow burner. We enjoy every achievement we have made and work hard to reach the next.

Setting reasonable goals and being overwhelmed if we exceed expectations. Highlights for us are definitely our BBC Radio 6 playlisting, along with our UK tour earlier in the year and our most recent show at Lafayette in London!

What do you most like writing/ singing about?

I often write as a cathartic exercise. Think it’s safe to assume I like to write about my personal experiences with relationships, romantic or otherwise, along with my general experience of navigating through life as a young adult.

Learning more about yourself and a lot of self-reflection.

Do you have big plans for 2023? What’s in the diary?

We have a really busy year coming up! Starting with two support slot tours in Feb and march with Priestgate and We Are Scientists. We will more than likely have a jampacked festival season too, and hopefully, a few headline shows thrown in.

You’ve got one wish for the new year that will definitely come true. What is it?

To finally play outside of the UK! We really want to play Ireland and would love to do some European festivals (fingers crossed!).

What’s your most “out there” prediction for 2023?

That we, as a band, might be able to take on music as a full-time profession! A pipeline dream.

Are there any tours or albums you’re looking forward to from other musicians?

Tour-wise I’m really looking forward to seeing Aldous Harding in April! Also trying to get tickets for the Big Thief tour.

What other new acts should we be keeping an eye on?

Definitely check out Priestgate!

They’re great, and super pleased to be supporting them next year. Also, She’s in Parties and Slaney Bay, two awesome bands that supported us in our autumn tour this year.

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Alissic’s year of firsts in 2022, from her debut single ‘Like’ to her first live show, has set the stage for her to flourish.

With a sound that balances between pop and glitching electronica, a fashion-focused aesthetic, and a mystery behind her that makes everything feel out of this world, she’s only going to keep rising.

Words: Steven Loftin.

Photo: Frances Beach.

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SWIM SCHOOL

ALISSIC

→ Alissic’s 2022 was one of integral

firsts. While she may have released her debut single ‘Like’ in 2020, it took until last year for her first-ever live show to take place. This bringing to life of her artistic vision - including a slot at last year’s Great Escape proving ground down in Brighton sealed Alissic as a performer proper, AL I S S I C and set her on the course that signing to Ministry of Sound in 2021 readied her for.

Moving readily from these milestones to releasing a couple more singles, including August’s hyperpop-edged ‘bugfood’, the alt-pop persona Alissic is building is one that confidently totes hypnotic tunes that relish in a pop glow while exploring the outer reaches of where sounds like this can go. Even the visual aesthetic balances the weird and wonderful with a fashion-focused eye, a benefit from her time as a model.

With all these elements colliding, it makes everything feel as out of this world as her purported origin story wherein her parents encountered a UFO nine months before she was born (that’s not to mention her fangs, a matching set with her husband, Bring Me’s Oli Sykes, that she sprouted after being bitten by a vampire) - it’s all a mystery waiting to be unravelled.

Slowly notching up an arsenal of cuts that traverse a metamorphosing line between pop and glitching electronica - and a host of rousing choruses to boot - the stage looks set for the Brazilian artist to flourish.

Testament to her moves going forward, it’s quite tricky to get a hold of Alissic, but we persevere and catch up with the budding pop star to see how she’s been, where she’s at, and where she’s going in 2023.

MY HEART KNOWS BEST”

Hiya! Now it’s coming to a close, how was your 2022?

Hi, it was a year with a lot of new starts; I’ve done things that I’ve never thought I would (just dreams, I guess). Challenging but amazing.

What was the standout moment for you?

My first show ever; I was pooping my pants!

And from that, what are you planning to take with you into 2023?

I guess I need to always remember that I can do anything I want, no fear and enjoy life.

How has your artistic vision grown over the last year, and what does that look like going into the new year?

I feel like I know where to find my inspirations now, and it feels like home. This year I’m connecting with my roots.

What are your key inspirations, both visually and musically?

Nature and spirituality, I have all my insights and ideas when I’m connected with nature and myself.

When writing songs, what

interests you most?

Storytelling, for sure. Also the idea that I can inspire people and connect everyone with my words.

Do you have any key ambitions, or a mission statement for your career?

Connection! inspiration! Love and magic!

Do you have any projects in the pipeline for 2023, if so, what can you tell us about them?

I want to release my first EP this year! I feel very excited to show a different side of my music.

→ Edinburgh’s Swim School know how to capture an audience with their mixture of ethereal soundscapes and unforgettable catchy choruses.

The perfect blend of dreamy vibes and explosive energy - if you’ve ever been a fan of Wolf Alice’s ability to switch from bliss to bombast at will, here’s your homework.

STONE → Liverpool’s STONE blend the punk energy of IDLES and the inner-city smarts of The Streets to capture the dizzying experience of youth culture in the digital age and the paradox of young adulthood.

Their lyrics reflect on the strange and uncertain world they’re growing into.

Generational anxiety never sounded this sharp.

With your debut live shows happening last year, what have you learned about yourself as a performer?

January 2022 was the first time I’ve ever heard my voice coming out of a P.A.! So I definitely feel like it will only get better now.

What’s been the most integral lesson you’ve learned so far?

That my heart knows best.

How are you planning on making 2023 the year of Alissic?

This year I’m following my intuition and making the art I’ve always longed to.

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WE HAD SUCH A BUSY 2022, IT’S BEEN WILD” SARAH HARVEY

48 Upset

PANIC SHACK

→ Panic Shack are challenging the music industry’s exclusionary nature with their infectious and off-kilter songs. Comprised of Sarah Harvey (vocals), Meg Fretwell (guitar/backing vocals), Romi Lawrence (guitar/backing vocals), Em Smith (bass) and Nick Doherty-Williams (drums), the band came together in 2018 with a mission to show that anyone can make music. But then, on the evidence of their TikTok twatbaiting, gloriously raucous 2022, this bunch aren’t just anyone after all.

Hi Sarah! How’s it going? What are you up to today?

Heyyy! I’m currently wrapped up in bed (it’s 1:40pm) watching my fave comfort show, Made In Chelsea lol, trying to get over a cold before going to the panto with my family this evening. H from steps is in it, and I’m buzzing.

How did you guys meet?

SoOOoOoo Em and Rom have been besties since school, then me and Meg met them and each other from mutual friends and nights out in Cardiff (it’s a pretty small city).

Also, me, Em and Meg all worked together in a very well-known bath bomb shop.

Whose idea was it to start playing music together?

I think Emily was the one that really got things going; she was already in a band and wanted to do more of her own style of music, so mentioned it a few times at work.

We would talk about it a lot, and if I’m being honest, I wasn’t sure if it was just a bit of fun, something to get us through all the soap selling.

Also, me and Meg would go to karaoke religiously every Wednesday, and I think it really helped us build confidence in performing. Romi has always been musical (have you heard her hit those high notes?!), and when we would talk about it at work, there was no doubt Rom would be involved too.

How have you found your time in the band so far - any particular highlights? You had a busy 2022, right?

Being in a band is class; just creating music with your best mates is already the best feeling ever, but to then play to shit loads of people all over the UK and Europe is incredible; we love it and would do it every day if we could.

We had SUCH a busy 2022, it’s been wild, and what we’ve wanted to do for so long, so it’s hard to choose…. But if we had to name a few, playing Reading & Leeds, going on tour with Yard act, playing our second Headline soldout show at Clwb Ifor Bach, aaaand right now, we’re buzzing that five of our debut headline tour venues have sold out!!! Eeeee.

What do you most like writing/ singing about?

We love writing about our life experiences, nights out, money woes, and our fave sandwiches… we obviously also like to add a bit of humour to our songs. We were and still are heavily inspired by bands like The Chats and Confidence Man and love being able to have a laugh alongside sharing stories sometimes that have more serious messages.

Life’s too short to be serious aaaaallll the time.

Do you have big plans for 2023?

What’s in the diary?

We have our first EVER headline tour in February, which we are going to pull out all the stops for; very excited!

You’ve got one wish for the new year that will definitely come true. What is it?

Tories out.

What other new acts should we be keeping an eye on?

Snayx are the lushest bunch and have such a sick live show; they bring so much energy! Love those guys.

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Cassyette’s rise has always felt like a rocket blast to the stars, but in learning to enjoy the ride, the future looks brighter than ever.

50 Upset

Words: Steven Loftin.

→ Cassyette has no plans on slowing down, particularly going into 2023. First up, though, is a move down to Brighton.

Escaping the “London machine”, her eyes are firmly on the future, and there’s little time for reflection. But it would be amiss to not mention the release of her debut project, the ‘Sad Girl’ mixtape. That time for Cassyette “was so crazy; trying to finish that mixtape while I was touring [and] finding time to do everything at once.”

A learning curve, while she says she loves the tape, in reflection, “I would have done some things differently if I had had more time.”

A combustible collection of raucous, ravaging rock’n’roll, it introduced Cassyette’s take-no-prisoners intentions. Also showcasing her abilities to dig into the ups and downs of a life that made her, it garnered her a fervent fanbase – the Degenerates – and moved her on from howling TikTok covers sensation to a bonafide, realworld artist. So what next?

“I’ve been working on so much music for what feels like forever,” she beams. “But I have so much good stuff in the bank, and I’m really, really excited to release it. The past few weeks, I’ve been putting it in an order and going through it, so it’s felt really like I’ve achieved a lot, and that feels like a nice place to be because the years leading up to that were pretty shitty for me. I feel very positive and in good spirits.”

Elevating herself to this point wasn’t an easy task. Admitting she has “a tendency to be a bit of a self-hater and pressure myself,” even the loyal fanbase she’s built triggers the idea that “I don’t get why people like me… and I often have the thought, or maybe they just liked the songs and they don’t like me.”

But like her, they do. And when it comes to making music, that’s the reason Cassyette does it. “Just to connect with people and turn something sour or a feeling into something beautiful that people can have forever.” Establishing her own fandom is one of the biggest returns she’s had so far on her journey as Cassyette. “I feel like I’m doing my job,”

I FUCKING HATE WHEN PEOPLE DO VANITY PROJECTS” CAS SY E T T E she explains. “Having people follow me and becoming a fandom… That’s insane to me. It’s fucking awesome.”

Having been a part of fandoms herself growing up, she’s quick to note that hers “happens to be a fucking legendary group of people, and we have a lot in common, so it’s nice that it’s bought all of these people together.”

It’s these moments of reflection that allow Cassyette to take a breath.

Particularly because she admits, “I’m just super scatty”. “Focusing on things really helps me with like my mind. So when I hyper-focus, I hyper-focus to an intense level, which sometimes means I forget to sleep, and things like that.

And I also find things like that really exciting, like if something does well, I’m like, let’s do more and sometimes that’s the wrong way of going about things.

I want to go into the next year doing more things that make me feel good, and I find fun because those things have always proven this year to be the best things and the things that people connect with the most.”

She’s also learned to slow down. For all the hyper-focusing and reflection, Cassyette just wants to “enjoy the process more and enjoy living life more.” Having carved out her space via TikTok, established herself as an artist, and found a new way forward, this hindsight is easy now. But before, when she was “trying to get people to listen to my music, I didn’t feel like anyone was listening. It’s easy to get wrapped up in your own head because you do have to earn your stripes.”

Which explains Cassyette’s wrestling with her burgeoning success. Hers is built from the ground up. “You have

to go about it in your own way, and TikTok helped me massively with that.

It’s about taking all of the opportunities you can when you don’t have the luxury of, you know, nepotism,” she says with a wry smile.

The results speak for themselves; there are even dedicated fans who come to every show. Treasuring these relationships and the fact they tend to know which songs have staying power - including fan favourite ‘Mayhem’ - “It’s such a nice thing because it’s something that you share with that person,” Cassyette says. “You know, we’ve all been through shitty breakups, and I don’t know, I guess that’s it.

[When] they’ve let me know, they’ve always been songs that have come from like a really real place.”

It’s here Cassyette only wants her art to originate. This rare place of experience and understanding that her fans can latch onto. “I always think the best art comes out of that,” she says.

“When people find something that they really connect with, it’s a special thing.

I want to make sure that everything I put out is that level of special.”

Which carries onto her next point.

Now that she’s established herself, the only important thing for Cassyette is to “put out stuff that people want; otherwise, what’s the point? I fucking hate when people do vanity projects.”

Striking a balance between servicing herself and her Degenerates is where Cassyette cradles her music. “You should do things for a reason,” she says.

This mindset also translates into Cassyette’s goals outside of her music. Heading into 2023, she plans on collaborating more. On her largest headline tour to date, which takes in cities across Europe and the UK, she’s bringing her friends Calva Louise along for the ride. “I hadn’t seen them play for a few years. I saw them at 2000trees, and honestly, I think they’re one of the best live bands out there at the moment. They’re fucking insane.

I can’t wait for my fans to see them play because jeez, they’re gonna be a hard act to follow.” But if anyone can, it’s the Cassyette striding confidently into 2023.

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52 Upset

DEAD PONY

→ With a sound that recalls

everything from Bikini Kill to Wolf Alice, Scotland’s Dead Pony don’t do things by halves.

Self-produced, recorded and mixed, they’re a band soaked in the true spirit of grungy punk-rock. With a year of electrifying live performances at some of the best festivals like Glastonbury, The Great Escape, and TRNSMT behind them, 2023 promises a debut album that won’t stand still for anyone.

That saying about flogging a dead horse might need an update soon.

Hi Anna! How’s it going? What are you up to today?

Hello! I spent today doing some Christmas shopping and wrapping gifts. I was supposed to go see a band I love called The Mary Wallopers tonight with my brother Ryan in Glasgow, but I have post-tour flu, so I am just going to spend the evening in my flat, order in some Japanese food and watch Christmas films.

How did you guys find 2022 any particular highlights?

2022 for us has been absolutely incredible. Releasing our debut EP has been my highlight so far because it’s something I have wanted to do for such a long time. We’re also just back from a UK/EU tour with Mother Mother, and it was the best four weeks of my life. We got to experience

IT’S A HUGE DREAM OF MINE TO PLAY READING & LEEDS FESTIVAL, SO IF WE COULD DO THAT, I WOULD BE DELIGHTED” A NNA S HIE LD S so much this year, and I’m so grateful that we got to do everything that we did.

What are you working on at the moment?

Atm we’re working on making more music. We just released a cover of ‘Maneater’ by Nelly Furtado. We are going to be releasing a lot of new music next year, so we’re just getting ready for that.

Do you have big plans for 2023? What’s in the diary?

We already have a few shows in the pipeline for January. We’re Upset 53

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playing Leeds and London at the end of Jan, and we’re going to be bringing out some new music really soon. We also have a lot of festivals to look forward to next summer, and we’re heading to Austin, Texas for SXSW in March.

You’ve got one wish for the new year that will definitely come true. What is it?

That’s a tough one. I could say something like win the lottery, but tbh it’s a huge dream of mine to play Reading & Leeds Festival, so if we could do that, I would be delighted. Also, I’d love to support Paramore on their upcoming tour!

LOZEAK

→ Here’s Lozeak, the Norwich-based alt-popster who never shies away from embracing who she really is. From Hannah Montana-loving tween to TikToker and beyond, Lozeak has evolved her sound to match her distinct aesthetic. Mixing influences from Avril in the old-school and WILLOW from the new wave, Lozeak is an artist that brings a fresh and exciting perspective to the scene.

What’s your most “out there” prediction for 2023?

Our debut album will be the best rock album since songs for the deaf.

Are there any tours or albums you’re looking forward to from other musicians?

Paramore! I love them so much, and I cannot wait to hear their new album / see them live. I was supposed to go see them in Edinburgh when I was about 15, but my mum wouldn’t let me go cause it was a school night, so to finally see them live 10 years later is a dream come true. Also, I’m dying to see Kid Kapichi again live. I saw them in Brighton at TGE, and their new album/live show is incredible.

What other new acts should we be keeping an eye on?

My friend Lizzie Reid is at the top of my list. She makes the most beautiful music I have ever heard, and she is going to be a total superstar one day. Her band are also just wonderful people and crazy talented. Also, Gallus from Glasgow are nuts live, and they have some absolute belter tunes. There’s a new band in Glasgow called Tina Sandwich, who Blair recorded some songs for. I haven’t seen them live yet, but their tunes are class, and I’ve seen videos of them live, and their show looks so class too.

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JOEY VALENCE & BRAE → Joey Valence and Braedan Lugue - or Brae, if we’re doing this informally - have been making a noise ever since they burst out of their rooms demanding their right to party.

Yeah, the Beastie Boys comparisons will come from all angles for the sharper-than-razorblades duo, but they’re earned, not wasted.

After a whirlwind year, going from writing funny rap songs in Valence’s bedroom to gaining millions of fans worldwide, 2023 should be positively intergalactic.

Måneskin

RUSH! ★★★★

Released: 20th January.

→ By now, Maneskin have become an integral part of the musical landscape, in that they seem to be everywhere. Ever since winning 2021’s Eurovision, the Italian four-piece, who quite simply ooze sex appeal, have been the It band for every award show and red carpet, and on their debut international release ‘Rush!’ (they already have two previous Italian releases under their belt), they’re converting this experience into a ludicrously brash and sultry rock’n’roll album.

Touching upon life under the spotlight, including lines such as “I want to fuck / let’s get to my spot / I’m too drunk to get hard / blah blah blah” (‘Bla’), which in the mouth of any other band would feel icky at best, but with Maneskin, they manage to writhe around in this thundering four-on-the-floor sound and get away with it.

This charm exudes from every turn as they depict every romantic encounter and nosey onlooker through catchy hooks, gut-churningly low bass lines, and swaggering rock.

If you’ve got it, flaunt it, and indeed Maneskin are flaunting the fuck out on ‘Rush!’. Steven Loftin 56 Upset

RATED

to the album title, which successfully parodies their ‘Takin’ A Ride’ cut, replacing the nihilism of the Minnesota greats with wholesome and polite respectability.

Even ‘Funny Farm’, which finds White Reaper at their punk best, could’ve lived comfortably on ‘Hootenanny’ or ‘Stink’ and not sound out of place – except for the fact White Reaper know their way around their instruments.

Musical magpies of the highest order, ‘Asking For A Ride’ is an irresistible slice of modern American punk and the group’s finest effort to date. Rob Mair

beautiful and deeply personal album, a testament to The Murder Capital’s commitment to pushing their sound forward while staying true to themselves.

firmly. Steven Loftin

You Me At Six

Alex Ingle

The Murder Capital

White Reaper

GIGI’S RECOVERY ★★★★ Released: 20th January.

→ The Murder Capital’s sophomore album ‘Gigi’s Recovery’ takes listeners on an emotional rollercoaster of grief, recovery and existentialism. From the opening notes of ‘Crying’, the band’s newly-expanded sonic palette creates a distinct atmosphere that sets the tone for the album.

The Dubliners navigate the emotional turmoil of life with skill and precision, pulling at the heartstrings with tracks like ‘Ethel’ and ‘Return My Head’ that burst with raw emotion. But the album isn’t just about heartache and sorrow, it also showcases the band’s dexterity on tracks like ‘A Thousand Lives’ and ‘Belonging’. ‘The Lie Becomes the Self’ delves into the band’s darker side, while ‘Only Good Things’ offers a rare moment of levity. ‘Gigi’s Recovery’ is a stunningly

Ville Valo

NEON NOIR ★★★

Released: 13th January.

→ The debut solo album of a rock icon, pegged by its creator as “a teary mascara marathon between Robert Smith and Ozzy, with a dash of hope”, Ville Valo’s ‘Neon Noir’ does indeed serve up gothic luxury. A soft-edge glimmers throughout, as Ville laments on love to the sound of inoffensive metal that focuses on toting a memorable pop hue with chant-along moments (‘Loveletting’). For the debut solo album from the frontman of the love metal godfathers HIM, ‘Neon Noir’ delivers as you’d expect it would, with an urgency for life taking hold swiftly and

ASKING FOR A RIDE ★★★★ Released: 27th January.

→ ‘Asking For A Ride’ is unquestionably White Reaper’s boldest, most intense and varied record to date. Having spent the last three albums casting envious eyes at stadiums and arena stages, the garage punk revivalists now display a newly defined hard edge and finely honed pop-rock chops. The result is a record that successfully pulls in several different directions, while never feeling anything less than the perfect White Reaper album. The reference points are easy to spot, too.

There’s a galloping aesthetic that recalls Thin Lizzy (ask your grandparents) at their strident best. At the same time, there’s clearly an affection for the Replacements, even down

TRUTH DECAY ★★★★

Released: 10th February.

→ Over the years, You Me At Six have tried their hand at experimenting with their formula of emo-laced rock.

On their eighth outing, they’re packing some of their finest work to date, with ‘Truth Decay’ an amalgamation of their past, present and future. Featuring some of their best choruses the instant one-two of ‘Deep Cuts’ and ‘Mixed Emotions’ packs a serious power-pop punch - when twinned with the emo-centric lyrics of Josh Franceschi, there’s a thrust back to the good ol’ days of the late-00s.

Towards the latter half of the album, more electronic elements come into the fray.

Set against this resurgence of the early days sound, it’s a testament to You Me At Six’s ability to remain not only relevant, but consciously up to date. ‘Truth Decay’ is a stronghold of melody and sound that sees You Me At Six thriving. Steven Loftin Upset 57

KID KAPICHI

Photo: Andy Ford.

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

THE EAGLES

Hotel California

Bands always talk about the music they used to hear in the backseat of a car when they were kids.

For me, this track was the one. I was obsessed with it.

The Eagles were the first band I ever saw play live, and it convinced me that’s what I wanted to do with my life.

My dad would always say there are two types of people in this world: people who like country music, and people who lie about not liking country music.

THE CLASH

Should I Stay Or Should I Go

I’ve always had a huge admiration for the clash. Still, 58 Upset

to this day, they’re one of my favourite bands. Another song I would hear in the car or around the house.

Joe Strummer just oozes coolness and always will.

DEXYS MIDNIGHT RUNNERS

Geno

One of my top songs of all time. It’s a party tune, and for me, it trumps ‘Come On Eileen’. My parents told me about how they saw Dexys decades before and how the band spat on the crowd.

Those were the days.

SCOOTER

Logical Song

This was a bit of a secret pleasure for me. I think it

was the first song I bought on CD, and I used to play it on repeat. I now much prefer the Supertramp version. You live and learn.

DAVID BOWIE

Life on Mars

Probably the best song ever written. Can’t really say any more than that.

THE SPECIALS

Ghost Town

This tune always felt so special to me as a kid and still does to this day. It’s unlike any other track out there, which is a feat I don’t think many bands can say they’ve been able to accomplish. Still relevant to this day.

ELTON JOHN

Rocket Man

Another car banger that still gets the hair on the back of my neck standing to attention.

BILLY JOEL

Piano Man

One of the greatest songwriters of all time. My parents used to run pubs, so I spent a lot of time in them (I still do). This song painted such strong imagery for me, and felt so familiar to things I had witnessed myself. It’s a warm, comforting song and still gives me that hit of nostalgia every time I hear it.

Kid Kapichi tour the UK from 31st January.

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