Amber Run [21.10.2017]

One of the bands I really appreciate, Amber Run, finally came to Poland. And let me tell you, even if this particular interview (with Joe) was done via email, I was thrilled to have this opportunity. And naturally, was lucky to see them live.

Your new album For a Moment, I Was Lost was released this year and immediately stole hearts of people. How different was for you the recording process it in comparison to 5AM?

It was really different. We recorded a lot of this record live in an attempt to capture more of the energy we have at a show. In doing so I think we’ve captured a much rawer sounding album. Which I think is a great thing.

5 AM album cover is pretty simple in comparison to For a Moment, I Was Lost. It’s beautiful, mysterious, I kind of feel like having an psychiatric evaluation looking at it. I can see two faces, almost locking lips. Was it the result you wanted to achieve? Or was it supposed to be a butterfly? (Please tell me, it’s not a butterfly…)

It’s a Rorschach test! People are supposed to be different things so it’s not supposed to look like anything! It looks like lungs to me. If you see a butterfly it’s a butterfly!

Could you tell me about your inspirations, your idols?

Bands like the national and Radiohead are huge inspirations but we all listen to lots of different kinds of music so it’s difficult to pin point just a few. For me lyricists like guy Garvey are also huge inspirations.

How do you feel about going on an European tour, where you’ll play the first fiddle? Did you have the pleasure to visit Poland before?

We’ve never played a show in Poland and I don’t think any of us have visited either. Really excited to. I’ve heard beautiful things about your country and the way people engage with music there. We’re really excited to get our career started in Poland!

You were supporting Kodaline and (rumor has it) Seafret back in the day, how did it all begin?

Supporting Kodaline was an interesting learning experience. They were nice guys and have a great show but it was so earlier on our careers that I don’t think we truly took advantage. Was fun to play Brixton though! We’ve never supported Seafret! Maybe one day. I’ve heard they do really well in Poland! They have been supporting us on our UK tour.

You’re reuniting with Kodaline and Seafret for few more shows, who is better to hang out with, if I may ask?

Not sorted anything out with Kodaline for a few years but they are great guys. Love the ‘craic’. Seafret are hilarious lads – a lot of fun.

On a more personal note, is it true, you left law school to pursue music career?

Tom did leave university where he was studying law to play in this band – its true.

Hypothetically, if music was off the table, where would you see yourselves in 5 years?

Fat, lonely and bored

Found on Spotify vol.1

I haven’t posted in a while now, being super caught up with work, school and other irrelevant shit, I’ve decided to share some of the songs I’ve found on Spotify and am obsessed with. No rules, no categories, just music. Here we go.

Belle Mt – Hollow

Lewis Capaldi – Bruises


Mallory Knox – Giving it up

Of Mice and Men – Game of War

James Bay – Wild Love

Grandson – Kiss Bang

Catfish and the Bottleman – 7

Marmozets – Captive You

Fangclub – Bad Words

Twin Wild – Control

Slowdive [02/10/2017]

I’ve met with Nick Chaplin and Christian Savill for a brief talk just before their concert in Warsaw, back in October 2017. I must say, I had great time chatting about their break from music and how their children react to Slowdive’s newly found fame.

How are you feeling right now, after coming back and putting out the record after quite some time?

Nick: We kind of got used to it, it’s been 3 years since we did the first shows, but we’re so used to play live again, to me it felt like I’ve been doing this forever. What’s nice is playing the news songs from the new record, having fun playing something different and just seeing the audience react, mostly to the new but also to the old stuff, you never know, do you. Like I remember we went to see Pixies at Primavera and people were reacting mostly to the old song, which is also good.

How is it really, to play your old songs 20 years later? Was it different, was it like you’ve stopped in time, as if the time was not counting?

Christian: We sound exactly the same, but then again, we look pretty horrible, old and horrible.

Nick: We were pretty horrible before.

Christian: True.

Nick: Some of the songs are pretty easy, we obviously had to do some hard work before we’ve got together, we didn’t just decide one day to get back together and then go to a room the following day, it took quite some time to discuss which songs we would like to play and so we picked the well-known and probably easy ones. And once we’ve got through that batch, we went through the slightly tricky ones. With time we’ve forgotten a lot of what we did. But as it turns out it comes back pretty quickly.

That’s why we had to wait 3 years for a new record?

Nick: Yes, cause we had to go through the old songs probably. It took us a bit longer to create the new record, than we wanted to. But we also played a lot more shows than we thought we would and in between shows we had to go back and look after children, to our families. So there was not much time to go to the studio, so we just concentrated on the shows. So yes, it took longer than expected.

Actually when you stopped playing, I was just 4 years old.

Nick: We were mentally only about 4. (Laughter)

I had to dig up some old stuff and some things I’ve read were pretty horrible. 90’s was all about rock and then we went through the pop era all around the world. Do you think you were just ahead of your time?

Christian: No, I think this whole time we were just doing our own stuff. Some bands kind of moved from one popular thing to another. Don’t you think?

Nick: Yes, even when we started and critics were really kind to us, we were doing our own thing. There were bands following the same kind of style before us, we obviously had our own take from there. As Christian said, when the kind of funky drummer thing started, every band was having it in their songs. We never did anything like that. We were moving as far from what was trendy as possible, but I think it’s just what we wanted. Sometimes people have liked it, other times they thought it was shit.

Was it really hard to come back after taking all this criticism?

Nick: Not really, people always ask us, if we came back for some kind of revenge, to show everyone we came back and just fuck you! But no, we haven’t really thought about it, people were just doing their jobs and that’s what this job was at the time, to sell newspapers, so they knocked the band down, made fun of it and people thought it was hilarious and then they moved to a next genre. But that doesn’t exist anymore. We were bumped up about it. If our comeback would not work, we would just go back to work in a computer company.

So you were working in a computer company?

Nick: Yes, we worked in the same office.

That’s cool.

Nick: It’s a company that employs people, who know nothing about computers. That’s why we’ve got jobs there.

Oh yeah, been there done that!

Nick: So yeah, we thought it will be like 8-10 shows, we never hoped we would do another record. We obviously ended up doing a lot more. People wanted to come to our concerts.

I actually checked and Pitchfork has put all of your records in “50 best shoegaze albums of all time” in the top 10. In the social media era, where everything spreads worldwide really fast, like STDs on Coachella, do you think it’s better for musicians?

Nick: It has two sides, on one side it’s too much music out there, I think. It’s hard to find something at the volume that’s acceptable. But the flip side of that is, anybody can be accessible, when before you needed a label, which you don’t necessary need anymore. The trick is, how to get the music out there, for people to find it. For us it was easier, because we have a name, which people with a certain age and certain musical taste have recognize straight away, so when we came back and put the record out, we didn’t have to tell people who we were. For a new artist it’s a lot more work.

How does it feel to be in the spotlight again? With new fans, finding you on Spotify, going to your concerts, taking pictures and following your every step on Instagram?

Nick: We’ve got used to that, but actually Rachel is really good at that, the whole social media thing. I don’t object to it, this is really important now.

Being some sort of famous these days bases on people recognizing you a lot more often, asking for selfies, starring at you. Is there anything you would not accept?

Christian: It never happens to us. It’s good, you can go to a show and literally just go straight to the audience and no one would bother you. It’s mostly Rachel

Nick: Yes, well, it happens to us occasionally. Of course every band has it. When we decided to get back together, we wanted the original five. If one of us didn’t want to do it, then we wouldn’t do it. We all have an equal fair share. But Neil wrote songs and Rachel, for better or for worse, is the girl in the band. The wide media attention is focused on the girl in the band. She doesn’t like that, but we sort of accepted, that’s gonna happen and we can’t avoid it. When we play a concert and someone snaps a photo, we can’t control which picture is going to be published in the article. And we know they all gonna be of Rachel. (Laughter)

Is it hard to marry music and family? Usually when musician start their careers there are no strings attached, no family, just groupies everywhere, at least that’s what I’ve heard.

Christian: When we were younger we were basically living in each other’s pockets. Right now we live in different cities, having families.

Nick: We have a beautiful calendar, which we share and we block out the time we are busy with family or doing other things. So we can look at it and find a period of four days, that we might be able to do something. Me and Christian live quite close to each other. But not together (Laughter), we went through that phase. Simon lives in Cambridge, Neil and Rachel live in the south west. England is not a massive country, but there’s still 4 hours’ drive from ours to Neil’s, he has 2 kids, I have got kids, Christian has got kids, so it is kinda difficult. But at the same time we’re older and some things are easier now, with technology.

Are your kids proud of you?

Nick: They’ve been to our of our shows just recently. Your son loved it, didn’t he?

Christian: Yeah, my boy, he’s 7, loved it, my daughter, who’s 11, was not impressed.

Nick: Mine is slightly younger. My son is 9 and he was a bit overwhelmed by the whole thing, he’s quite sensitive. He was a bit afraid of going into the crowd, so I told him to watch the show from the side of the stage. He was afraid everyone’s gonna look at him. I said “trust me mate, nobody’s even looking at me, everyone’s looking at Rachel.” My little girl is 6, she thought the whole thing was hilarious.

Christian: “Look at daddy’s dumb face!” (Laughter)

Nick: So I think they’re kind of proud, but I think they’re also embarrassed. When you tell people about what you do in life, and we respond, we’re in a band, they ask “what is you’re really do”, so we need to convince them it’s really what we do, just being in a band. Most people can’t see anything between playing in U2 and a band that just plays in pubs. They just can’t understand how you can make a living out of it, when you’re just playing in pubs and not just working too.

That’s weird, UK is actually a house to great musician and a lot of different music.

Nick: Not many people have interest in that. Not many care about music. I know Britain has a history of great music, right now it’s basically just X-Factor and so, they are buying CD’s in a supermarket, not accepting people can make living out of it.

Thank you very much for the talk and have a nice one on stage today!

Cellphones during concerts: yes or no?

One of the radio stations was debating during today’s morning show whether usage of cellphones should be banned during live shows completely or not. They’ve mentioned a pretty strict no cellphone statement from Jack White and his team, released yesterday.

We think you’ll enjoy looking up from your gadgets for a little while and experience music and our shared love of it IN PERSON.

According to NME, concertgoers will be obliged to keep their phones locked in the Yondr pouch, which they can unlock only in certain areas of the venue. This way people won’t be able to take pictures and videos of any kind, benefiting in them enjoying the moment.

You can call me an old soul or a very odd person for my age, but I was never fond of using my phone during a show. I always wondered, why people were just standing still, looking at their phones. If they got somewhere near me, they were pissing me off with their snarky comments and stares, to a point I wanted to shove their phone into their asses. Don’t judge me. And I am totally in favor of this ban. It’s not only a total waste of time, since the quality of your video and sound does not only depend on your phone. Besides, you can find shit loads of videos released by the artist. It’s also minimizing the experience to just focusing on what’s on your screen.

Second thing is, recording in a crowd, you’re not going to respond to the artist, nor interact in any damn way. This is pissing the artist off, and I am not surprised. Someone is singing their hear out, only to see blue screens and no one really singing/dancing/having an actual fun. I would be pissed…

But, I am not comfortable with using the pouch. Simply keeping the phone in a bag or a pocket is enough. And I agree with a comment (bold) made on the matter and left on, with 79% of votes to ban cellphones in the venues:

First off, I get the annoyance of having an overzealous photo/video taker blocking your view & how it may be disconcerting to performers seeing people in the audience documenting everything. I’m fine with a performer simply requesting no video/photos and then actually enforcing the rule by evicting anyone who doesn’t follow the rule. When I go to a show, I do like to take pics and some video. I love looking back on these as a more tangible memory. But if a performer asks me not to, I don’t.
In this day and age, however, I believe it is wrong and even unsafe to use things such as a Yondr pouch to make people’s phones inaccessible to them. To unlock the pouch you have to go and find an employee who can unlock it for you.
Imagine any number of scenarios where this could be dangerous: a fire, an active shooter, a medical emergency w/ an audience member or a loved one not in attendance, etc.
If performers and venues are going to start using these more and more, they had better HOPE & PRAY NOTHING goes wrong during their show. I fear it’s going to take a real life incident to illustrate why this is a bad idea.

Enter Shikari [14/09/2017]

With this interview started an autumn marathon of interviews and concerts. I also met great people from Play It Again Sam, letting me near all the amazing bands, pushing me to get to know their history and discography. So, there you have it, first of the series, starring Enter Shikari.

It’s been a really hard day, wasn’t it? You squeezed a lot of interviews in one day.

Rou: Yes, it’s been a long day, but we’ve met really good people asking good questions.

Let’s kick it off with a question “how would you describe The Spark in three words”?

Rou: Honest, diverse, aqua (laughter), very aqua.

This album is in a different style from you previous work.

Rou: It feels like a new era. It’s very fresh.

What differentiates your new album from your previous work? Tell me about your inspirations.

Rou: It is very different, a lot has happened in a few years leading up to this album, there’s a lot to process. I think we wanted to make things more lucid. Looking on our previous work, one Shikari song sounds like 5 different songs. There’s just so much going on. We wanted to make this one a more focused album. As well as making it a lot more honest and very open, not being afraid of showing human vulnerability and all sides of human experiences. It’s very different for us, we also worked with new producer, David Kosten.

What about the music videos? Live Outside and Rabble Rouser show a specific pattern, giving viewers strong Westworlds vibe.


Rory: You know, it wasn’t necessarily intentional, to make a specific music video. We’ve just sent the track out there, to different directors, they came back with their ideas. We just liked Bob Gallagher, the director and his idea for Live outside video, and how it turned out, so we went to him again for Rabble Rouser. He’s really nice to work with. In a way, it fits with the retro futuristicky kind of vibe. We are not really premeditated. One thing happens, then something else happens, then something else happens and before you know it, things get into one, really. But I am not sure, how the rest of the videos is going to be.

A song Take my country back caught my eye instantly. It has a very controversial title. Without lyrical background, I was not sure, which way will it go. It seems though, it’s your response to everything, that has happened in the world lately.

Rou: Yes, exactly that. I think there’s a worrying vibe in the mindset and philosophy of nationalism and the far-right position of just kind of cowarding back and shutting up your own country in this little cage, without foreigners. It’s really sort of fearful, cowardly position. It doesn’t help us progress as a society, as a species. It’s getting a lot of traction, Europe, UK, America, it’s something anyone could have predicted like 10 years ago, if you said nationalism will become very dangerous again, people wouldn’t believe it. But here we are, in the epicenter or it and it’s really frustrating. This song’s all about that, Brexit and Trump, the two biggest influences.

Yes, I can relate, Poland is going back to Medieval Times. 

Rou: Yes, I’ve heard.

I’ve put my hands on your album just yesterday, but the song Airfield got me instantly. What about you? Is there any song you like the most?

Rou: Not really, because we’ve just made it. It’s just all so fresh and I love it all.

So, there is no favorite child?

Rou: At the moment, I’m particularly liking Undercover Agents.

Rory: Yeah! Me too actually.

Rou: But it will change every day.

Rory: Also Rabble Rouser, but it literally just came out.

And which one will be the hardest to play live?

Rou: Oh, few of them.

Rory: I don’t know, I mean, technically guitar line is boring. (Laughter) There’s nothing like really complicated. But Rob made this mental drum part in Shinrin-yoku. The beat lasts like 8 verses, but it’s mental, it’s just wrong, he made it purely on logic. When he played it, I was like “What is wrong with you?”. (Laughter) But it just sounds like Rob. I can’t wait to see him play. I imagine he would have to grow another arm or something.


Let’s talk about the cover for The Spark. I don’t even know how to describe it, really. 

Rou: It’s influenced by minimalism, retro-futurism and kind of brutalism as well, the architecture of it. What you see on the cover, the instrument, that’s the keyboard I’m going to be playing on tour, it’s being 3D printed, so I can’t wait to play it. We just call it The Machine, kind of ominous. You know how music can often be sort of guiding light, it can help people through various things and that’s why there’s a radar there. Also, the dots creating a triangle, which is our logo. It has a lot of layers. And aqua, of course aqua! Freshness!

Like water and a new life.

Rou: Exactly.

Thank you for your time, I am really looking forward to seeing you again in Warsaw.

Rou: We can’t wait to be back as well. We love it here. Poland has always been amazing for us.

Rory: There’s something about Polish and Russian fans, they just go the extra mile to show you, you really are appreciated.


Diplo – Get It Right (Feat. Mø)

Mø and Diplo have done it yet again, collaborating on a possible radio hit, which we will be soon tired of. With simple yet strong lyrics (nothing any female body part related) and easy to remember beat, they are going strong.

The song itself was released a month ago, with an official lyric video. was slowly building up the tension and finally, we can watch her and Diplo dancing their hearts out in a beautiful ballroom.

Get it right music video out now!! Learning a 3 minutes choreography wasn’t easy but I TELL u it was fun!! Shout out diplo for coming up with this epic idea (psssst – we did good!!) and for all the good times + great music we have made over the last 5 years! Luv u ❣️

It does look pretty similar to Ed Sheeran’s “Thinking out loud”, without the romantic touch. Which suits me better, to be honest.


Heidrik [12/05/2017]

Heidrik is a lovely Faroese artist, with a strong Tim Burtonish esthetic and magical voice. Last year I had a pleasure to meet him and chat a little about his  If you haven’t had a pleasure to get to know his music, you can find it on Spotify / Soundcloud and watch all of his music videos on Vimeo.

You are a man of many talents, a musician, filmmaker, painter, it seems you turn to gold everything you touch. Did you ever consider music school instead of film school?

Thank you very much! No, not really…or I was at this 6 month music course in Denmark so I have done a bit of school regarding music. Film for me was something I felt I needed schooling for. It’s so much technical stuff you have to do to be able to make a movie. So many people involved and it’s a big machine you have to start if you do film. Music you can make alone without problems so that’s why I guess I felt more that film school would be more a thing I would be able to help me regarding film.

“Funeral” is a very intimate album, seems like we can see your soul with every pitch.

Yes, it is a very personal album and I wanted it to be as true as possible. I have been through some things I think I needed to get off my chest. It is a very important album for me because it help me to get closure to a lot of things and helped me move on.

Correct me if I’m wrong, but is the song “Boy” based on true events? It’s truly heartbreaking.

Yes, it is. The song about a boy who died when he was 17 in my home town. He was under constant homophobic bullying and suddenly died and the entire town go silent with guilt by their behavior. I can never forget that morning I heard he died. I was 17 as well and it was such a strange morning. It has sort of haunted me ever since so I felt I had to write the story down. I think it says a lot about us humans and how we behave towards the things we don’t understand or don’t know.

FXxjZXuYtjkMany people, especially young, living in small places, are struggling, when it comes to their sexuality and the world they grow up in. Faroe Islands are not only small, but also isolated.

Yes it’s very hard it small societies I think. Faroe Islands have change a great deal just the past 10 years but when I was a kid, homophobia was a very normal thing. People’s hate and fear was hidden behind religion as an excuse of their behavior. I am just very happy young people in the Faroe Islands wont experience such hate again.

How did moving to Iceland influence your life? Does it inspire you while creating?

It is a lot like Faroe Islands. Just bigger and a bit more modern. I learn a lot here – about myself and about life. I lived in Denmark but I never settled in. I am born and raised around nature and therefor was Iceland perfect for me. I feel very much at home here.

How was to work with Janus Rassmusen?

It was great! he’s is one of my best friends. We known each others since we were teenagers and he has also seen me grow up and therefor could easily relate to the album and help me say what I wanted in the right way. He is seriously one of the best producers around and he’s to humble to for his great talents.

Let’s talk about your inspirations, the cover of “Funeral” reminds me of Tim Burton’s “The nightmare before Christmas”, it’s one of my favorites. Where do you seek inspiration? What helps you most in the process of creating?

That’s funny! Tim Burton and I have the same source of inspiration I think and that’s maybe way you think so. We both are great fans of old black and white silent Berlin movies from the 1920s AND 50s horror movies. So I guess that’s where you may see some resemblance. I find my inspiration in old movies and pictures of old Hollywood stars. The album is called Funeral but I see the album as a very positive album because it’s about letting go and getting peace of mind so you can move on with your life. So I wanted the cover to be beautiful and colorful yet have some of the funeral elements but in a surreal sort of way. So it was not associated to a real funeral but more the symbolic side of a funeral.

You are one of those stars with a pretty unique name, how often is it mispronounced? What was the funniest version of your name?

Well surprisingly it’s not that bad. I think people are quite good at pronouncing it. But I love how polish people have like, cute versions of names so I am called Heniu or Heidriczek. I think that’s adorable 😉


Warhaus [19/01/2017]

Last year I’ve had a pleasure to interview Maarten Devoldere, known as one of the leading faces of Belgian rock band Balthazar. But Balthazar was not the main topic of our conversation. Maarten decided to create a separate project, called Warhaus and was touring around Europe.

Your solo project had not only a magnetic title, it’s a journey, a dark dream we all secretly would like to live in. What inspired you the most while creating this record?

People I love. People i wanted to love, but couldn’t. Chorine. Pornhub. That Paloma blanca song. My mother. Nights I didn’t remember, so I could refill them up with sweet melody.

Listening to your album I started to wonder, who are the characters you’re writing about. Is there any particular story behind it?

They start quite anecdotal. They’re all about girlfriends or encounters with people. I can link every song to a certain girl, which sounds a bit cliché but yeah, I’m a walking cliché I guess. I try to develop the songs, so they’re recognizable for more people than myself though.

Between the release of Balthazar’s last record and “We Fucked A Flame Into Being” there’s less than 2 year gap, including the European tour and promotions. Did you compose some of the songs in the tour bus?

I worked five years on the album on the side. So I wrote a bit everywhere depending on where I was during those five years. A lot of that time I was on tour, but a lot was written at home as well.

Your vocals have the lead, what about the female voice? I must say, it’s electrifying.

I agree, that’s Sylvie Kreusch, a Belgian singer, who I’ve met on tour. She had an impact on the album in mysterious ways. I guess, I could say she’s a muse, if i believed in that kind of hocus pocus. Which I don’t.


Are there plans for another record?

Not thinking about that yet. I’ll first make a new Balthazar record with Jinte. That been said as it is a solo project and it’s hard to split as a solo artist. There will probably be coming more before my retirement. [Laughter]

What are the main differences between working solo and creating the record with Balthazar? Do you feel more comfortable recording and performing as Warhaus?

Not really, some things are sweeter, some are not. I guess I like the variation. It pushes you to new directions, whether you like it or not. Playing in a band is about losing the ego and working as a team. Making a solo record is about exaggerating the ego. Which can be fun sometimes.

You’ve played in Poland in 2015 with Balthazar. In February you’ll perform twice, Warsaw and Poznan, in the exact same clubs. Will it be different for you? How do you perceive the Polish crowd?

It’s a different band, it’s a different year and the stars will be aligned differently, so yeah it must be different.



Top 10 Records of 2017

I don’t know about you, but my 2017 was a true roller-coaster (which by the way I am fucking terrified of). While professionally I am in a very good place, my personal life is a mess. From the smallest things, to big issues, I wasn’t sure I will see this year’s end. I feel like I am not the only one. Fortunately, this day finally came, because I can’t do 2017 anymore.

Musically, it was also a pretty messy year. We’ve lost some great ones, we’ve gained some great ones. As for me, it was super hard to choose only 10 albums.

But here it is, my Top fucking 10 albums of 2017:

10. Royal Blood “How Did We Get So Dark?”

9. You me at six “Night people”

8. Tokio Hotel “Dream Machine”

7. Lower than Atlantis “Safe in Sound”

6. Marilyn Manson “Heaven upside down”

5. Sampha “Process”

4. MEW “Visuals”

3. Kesha “Rainbow”

Kesha came back stronger, her songs are better than ever. What happened to her is not fair, but she started a very important topic for all the women around the world.

2. Public Service Broadcasting “Every Valley”

To all of you, who haven’t had a chance to listen to “Every Valley” or don’t know what the hell I am talking about, Public Service Broadcasting focused on an important and sad story of Walsh miners, their fight with Margaret Thatcher and British government. I was pretty lucky to have a chance to see those guys live and interview them about “Every Valley”, a topic close to my heart.

1. Enter Shikari “The Spark”

While I was battling myself, choosing numbers 2 to 10, I was 100% sure about “The Spark” being my number one of 2017. To be honest, I was stuck on their old record “A Flash Flood of Colours” (released ages ago, don’t judge me), so I was pretty unaware of everything happening around Enter Shikari until September. But “The Spark” is a true masterpiece, it’s so honest and pure. Rou really left a piece of his heart and soul on this one. This record also helped me overcome some of my own issues, leaving nothing, but peace of mind. I am grateful for that, lads.

Albums worth mentioning: Liam Gallagher “As you were”; Papa Roach “Crooked Teeth”; Paramore “After Laughter”; METZ “Strange Peace”; Slowdive “Slowdive”; Nothing But Thieves “Broken Machine”; The Rasmus “Dark Matters”; Fangclub “Fangclub”; Harry Styles “Harry Styles”.


The wombats – “Lemon to Knife Fight”

As I am hopefully back to life, The Wombats came back with their first official single from their 5th studio album Beautiful People Will Ruin Your Life. Lemon to a knife fight is truly and so The Wombats, creative lyrics meet catchy beat, circling in ones mind for hours.

The Wombats likes to show their faces in their music videos, this time around they appear briefly, opening and closing a very bizarre video for Lemon to Knife Fight. It starts with a kidnapper and his victim, driving to the woods to meet the victims fate. As per usual, there’s a dark twist, giving the victim a fair advantage against the kidnapper. It’s not a superhero kind of situation, but it’s worth watching.

Starting strong, we can only wait and see, if Beautiful People Will Ruin Your Life will be as good or even better as the single and ones that came before.