December 11, 2025 • 35 mins
A granddad blasting Pink Floyd at school pick-up and a jealous six-year-old’s first guitar lesson—hardly the start of a band, but that’s where Eades began. Frontmen Harry Jordan and Tom O’Reilly trace how a bedroom project became a songwriting engine that produced 50-plus lockdown tracks and the refined Final Sirens Call. From four-mic drum kits and happy-accident compressors to Dylan, Lou Reed, and Wilco-inspired craft, the duo reveal how trust, vetoes, and risk shape their sound. We dig into sequencing headaches, translating dense studio layers to the stage, and chasing the live spark on their next record.
For fans of post-punk energy, garage roots, and Wilco-era ambition—this episode dives inside Eades’ engine room.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
colleyc (00:36):
Alright everyone, how here we are.
Anotherepisode of ifitbeyourwill
Podcast coming to you.
We dabble around the world hereat If Be Your Will.
We don't mess around, and todaywe're not messing around.
We're going over to Leeds inthe UK.
It's like a five-hour timedifference, but I have Eads here
who just put out a great recordcalled Final Sirens Call.
(01:00):
And I have Harry Jordan and TomO'Reilly here coming in.
And we're going to explore thisnew record, but I also want to
know how all this madness beganbecause it's quite an
interesting story.
So, guys, thanks so much fortaking some time and agreeing at
a late hour to come in here andtalk with me because I think
you guys are close to bedtime.
Harry (01:21):
Yeah, I actually got out of bed.
Well, we'll try to get you backto bed as soon as we can.
That's so good.
colleyc (01:34):
It's a pleasure to chat.
Yeah, I've just really beenenjoying this record.
Um, and all your music really.
And I've seen this kind of likeprogression, this like chugging
forward of maturity and how youguys are writing songs.
So I want to kind of dive intothat, but I'd like to kind of
get your backstory on both ofyou.
Um like Harry, where when didwhen did music start to be for
(02:00):
you and was gonna be for therest of what you do?
Harry (02:04):
I think my I was I was never very good at a lot of
things at school, really.
And then my granddad was kindof just music obsessed.
And uh when my parents uh uhsplit up when I was young, he
used to pick me up from school alot, and um he used to just
blast uh he used to think it wasfunny play uh blasting uh
teacher leave those kids carwindow while picking me up from
(02:27):
school.
So he kind of installed aslightly rebellious side in me,
but also my uh love for musicand um like the Rolling Stones,
the Beatles.
He used to kind of there wasalways a thing where he'd be
like, you can borrow this CD,but this one I'm having back,
and they never they never wouldgo back.
But uh yeah, he kind of got mereally into it and he started
learning bass at the same time Istarted learning guitar because
(02:50):
I kind of was nagging himsaying, Oh, we want to learn an
instrument, and then he kind ofuh was like, Well, I've always
wanted to learn bass, so we bothgot these kind of entry-level
squires guitars and kind ofstarted playing together and uh
just really enjoyed it, and thenyou know, I met Tom at uni uh
years later.
I think I was at nine when Istarted, but we were kind of
(03:12):
playing in different bands.
Um, and I really I basically myband I think supported Tom's
band or the other way around, Ican't even remember now.
But I just remember being like,wow, this guy can really play
the guitar.
It's kind of like he had hisheadband on at the time, and
it's like I think we put ourshirt buttons down to our like
belly buttons and just likethinking we were rock stars at
(03:34):
like trying, we were tryingsomething up, yeah.
We were do we were both doing athing uh and similar thing as
well, and yeah, we kinda we kindof got on really quickly.
I think we just got on as likefriends for quite a while first,
and we were both kind of stayeddoing separate bands, and then
uh I think as Ead's kind ofstarted uh as like a bedroom
(03:56):
project, um uh that I was justdoing, I was kind of recording
with Joe for all drummer, likein our bedrooms at uni.
And then uh kind of we wereplaying in another band that Tom
also played in called FarCaspian, and uh we had just
started looking to tour it orlike play at least play a show
with it.
Um, so I needed to get a bandtogether, and then Tom seemed
(04:17):
like the obvious person becausehe was the best guitarist I
knew, really, in league.
Right back up, yeah.
And so we kind of just went andit just went from there and it
kind of just snowballed, really.
Like as soon as Tom joined, itfelt like a real more of like a
band.
Yeah, and we kind of started asthe years have gone by, we've
kind of just written so muchmusic together but separately.
(04:39):
Yeah, uh, like in lockdown, wedid we I kind of felt like
neither of us had anything todo, so we were kind of writing
songs, sending each other thefiles.
So I remember I'd write like aninstrumental.
Tom would receive theinstrumental that evening, write
the lyrics for it the next day.
While I do another one, he'dthen send the lyrics back.
And it was just a songwritingmachine, yeah.
It kind of turns I think wewrote like 50 songs or something
(05:03):
ridiculous for our first album.
colleyc (05:04):
Yeah, I read that.
It was like 60 plus songs thatwere like ready to go, and you
had to like dilute it.
All right, what are we gonnachoose?
Harry (05:13):
That's amazing though.
Like it was quite it was quiteyeah, we know in a way lockdown
was like good and bad for us.
It like stopped us being ableto play, but it made it gave us
a lot of time to like just writelike relentlessly and kind of
hone that craft.
I don't know that like and andand yeah, just we've just kept
doing it really.
colleyc (05:31):
I don't know if you've got anything to add, Tom, but
yeah, Tom, like what uh tell uslike do a little rewind too.
Like, when did music reallystart resonating with you as
something that you just love todo?
Tom (05:43):
Um, it was probably the Beatles started with my dad.
I think that's the same witheverybody.
Well, a lot of people, sure.
Um, but in terms of playingguitar, I think I saw my dad
teaching my sister guitar, andit was purely out of jealousy
that I was like, no, I want toplay guitar with my dad.
So I think that's what Istarted.
I was like six, more like ayoung jealousy there.
(06:06):
And then yeah, dotted aroundloads of different bands, uh,
tried to emulate the cribs whoare also from Leeds for many
years.
Um and and then yeah, finallyfound a home in Eades that that
has stuck and through lockdownas well.
A lot of writing, and then wegot the had the opportunity to
(06:28):
like go to a cottage in themiddle of nowhere, and we spent
two weeks recording that album.
And we just set up everything.
Harry (06:37):
Uh that was quite that was quite crazy actually,
because we'd been signed by uhwell, we had loads of demos and
we called an EP and we'd justsigned to High Star Hit, and a
lot of record labels would belike, This is how you're gonna
make a record.
We were like, We're just gonnatake our six microphones to an
Airbnb somewhere.
And and they were like, Okay,fine, we carry on the story.
(06:59):
I just thought that was wildthat they even let us do that at
like to be five years old orwhatever.
colleyc (07:04):
Yeah, yeah, yeah.
And Tom, what when did youstart actually writing songs as
a youngster?
Tom (07:11):
Like um putting them together, assembling, yeah.
I think uh in my my youngerteen years, getting into Arctic
Monkeys and hearing a vocalistthat had a Yorkshire accent that
I did resonate with some thatin some way and reading enemy
magazine and all that.
Yeah, and that there wasdefinitely a switch where it was
(07:35):
I didn't want to be the bestguitarist, I just wanted to
write good songs from that pointonwards, really.
Nice, nice that's a littleshred from time to time.
A couple of bears.
colleyc (07:50):
I love this too.
Like, are you guys consideredor do you consider yourselves
kind of DIY?
Like, you guys tend to controlpretty much like the writing
process, the recording process,the mixing, the mastering.
Like, is that something thatyou guys have decided on as a
band that you would take on allthose responsibilities?
Harry (08:09):
Yeah, I think I think it came around largely for two two
big reasons.
One being budget at the time,like we just couldn't afford to
go into studios, we didn'treally have any any money for
for a long time.
And um also I really wanted tobe a music producer as was like
a career thing, and and I whichI'm now fortunate enough to do.
I'm kind of sat in the studionow, and um it was a way to just
(08:33):
be able to learn how to record,or like we just bel we just
believed we could kind of do it.
Like uh Joel in Far Caspian,who me and Tom played guitar and
bass in for a long time, uh,for the live band, he
self-produced everything and wasa little bit older than us.
I think kind of seeing him doit was like, well, we can do
this too.
And it kind of uh I think wewere in a in Leeds at the time
(08:56):
was kind of a lot of peopledoing that, and kind of if at
the time it felt like it, therewas a lot of people and that
kind of mindset.
Um, and I think having if I nowknew what I knew then about
production, I'd probably say,Don't do it.
Producing my starting out, justlike get a producer.
(09:16):
Because I think I would haveloved to hear that first record
had it not been us also tryingto record anything for the first
time, you know.
Great to all of that.
But at the same time, I'mreally proud of that record.
But I think that's how it kindof started.
But uh but in a way it's beengreat because we've kind of
learnt all those things to apoint where we now really can do
that and be confident that youknow we can achieve a standard
(09:39):
in the production value as wellas the songwriting.
And I and I still believe likesome of my favourite songs or
records, you know, sound likethey're recorded in someone's
shed.
And you know, at the time ourinferences were really raw music
that you know was done withlike four microphones or you
know, on a conception.
colleyc (09:57):
Yeah, there's a certain aesthetic though, eh?
Tom (10:00):
Tom, yeah, add in please about the not producing the
early stuff.
Well, I think the first EP, theway that the drums were
produced is great because Harryjust didn't know how to produce
drums.
colleyc (10:14):
How do you say it?
Like, how give more detailthere, put some light on that.
Uh, I don't I don't know how todescribe it.
Because it's a hard thing to dodrums, right?
Because there's many of them.
Harry (10:23):
And like, where do you put the mics to like get I just
kind of got some plugins and Iremember being like, oh, this I
was really into the band Omni atthe time, and their drums just
sounded like they were justdistorted, completely blown out.
And I didn't know how toachieve that sound.
I just knew if I just I gotthis uh plugin called the
decapitator, which just likerips things to shreds, and I
(10:44):
think I just that was on everyon like the kick, the snare, the
overhead, the room mic, becausethose are the four mics were
just completely blown to bitswith this distortion.
And actually, I looked, I wastalking to somebody this other
day, I had a look at one of theold projects, I found an old
hard drive, and I knew that youhad to use compression, it was
like a thing you had to use, butI just thought I had a look at
the the dials, and none of thedials were actually moving.
(11:07):
So I thought, here's an LA2A, Ineed to put that on a vocal
because someone's told me that'swhat I need to do, and it
wasn't even compressing.
So someone said to me, like, Ilove how uncompressed your early
stuff is.
I was like, I thought I putloads of compression.
The idea was there, yeah, yeah.
I mean, I think those likethose interesting like things
(11:27):
like you know, I are quitecharming in a way.
It's something I I I was kindof looking to achieve that
without realizing just naturallybeing naive was achieving that
in itself, you know.
Beautiful.
colleyc (11:39):
I mean uh every experience is more information
and you know, a step forward,hopefully.
Harry (11:45):
Yeah, yeah, exactly.
And I think I I think that'slike similar to why like you
know, Jack White didn't want MegWhite to have drum lessons
famously.
It's like there's uh I thinkyou know, there's a beauty and a
lot of innocence, which I thinkright now when I listen to our
first record, is is why I stilllove it so fondly because it
felt you know really youthfuland on and like honest and it
(12:08):
has that charm to me anyway.
colleyc (12:10):
Totally.
No, I totally feel that.
Like and looking at theprogression of as well of uh
your evolution so far.
I mean, this has been since2019 really that you guys have
been together, and I mean thosesix years are I mean, you've
come up with something that uh Ithink can just keep growing and
growing and evolving.
Um Tom, what was the first songyou ever brought to to Harry?
(12:34):
And why did you choose thatone?
Like, how did you guys startintroducing each other as
singer-songwriters or as uhsongwriters, I guess I should
say?
Tom (12:42):
Like I definitely started with Harry's uh like almost
Harry's solo project, definitelythe early stuff.
And then I think it just slowlyseeped in the more that I just
stayed at Harry's house.
And was it maybe Reno was oneof the early earliest that I
(13:03):
wrote on?
I can't remember now.
Yeah, yeah, probably probablyyeah.
Harry went for a period of notliking to record the vocals and
lyrics, or not like writing thatas much because you can rattle
out an instrumental reallyquickly, and I love doing all
the lyric stuff, so I was like,Well, I'll do it, I'll do that
stuff.
So then then it slowlyprogressed where we'd have
(13:27):
songs, days like that, where I'dwrite on top of stuff, and then
other days where I can'tremember the first fully formed
song that I brought, maybe itwas liquid gold, it could be as
well.
It might might have been liquidgold.
colleyc (13:39):
I think it's beauty.
Tom (13:41):
I've written more full songs on the later stuff than
the earlier stuff, where wewould it would be more and then
now on an album we're we'reworking on now, we've really
just split down the middlebecause Harry's got a lot of
stuff he wants to say, and thenso we're just kind of writing
six of our own songs each andmaking them as good as possible.
But that's anotherconversation, another sound.
Harry (14:04):
Fade away was another one that Tom just like because
liquid gold Tom kind of did, andhe had like this other version
for it that was really nice aswell.
It was like a slow version ofit, and then we kind of
re-worked it out together inlike logic, but fade away was
like completely just Tom's song.
Um, and I think it's like ourmost streamed song.
It was quite a naturalevolution of of just like us
(14:28):
being around each other a lot.
Like it wasn't really aconscious thing one day, I
think, where it was like Tom,you're gonna do you want do you
want to do you wanna?
You know, it was your turn.
It just yeah, yeah.
It just it just he was alreadywriting good songs with his old
band, and you know, the trust Ithink was already there between
us.
Tom (14:46):
Also, the the amount the amount of conversations that we
would have about what we wantedthe songs to be that then
informed what I was writing, itwas it was an Eid song while I
was writing it, just because ofhow much me and Harry would talk
about what we want it to be allthe time.
So it naturally then ended upwith Eid songs would come out of
(15:10):
me.
Interesting.
Harry (15:11):
And also think we're quite we're quite good at like I
don't know if producing eachother or like like we can take
each criticism from each othervery well where like it's not
like offensive, it's just likethis isn't that's not right,
okay.
Yeah, I'll scrap that.
What should I do instead?
Like I might sing and Tom willbe like uh don't do that or
that, try it like this, or viceversa, playing guitar, where
(15:33):
it's just like that's crap.
It's never like much of adebate.
We normally are quite good atjust streamlining no sulking, if
anybody says no.
colleyc (15:45):
I really like this song, I really like this.
Come on, man.
Yeah, no, yeah.
Harry (15:50):
When you play a demo, it's like the room of the guys,
and like they're not reallypaying any attention, you're
like, Yeah, I'm probably gonnaput this one in the bin or
rework it.
colleyc (16:00):
Well, I imagine too, with just the sheer amount of
songs that you guys have havethat you were, you know, that
you write.
Um how did how did the latestrecord come to be?
Like, how do how did you choosewhat songs?
I mean, you have quite a anarchive, I imagine, of songs.
What was the decision processas to how this record would your
(16:24):
latest record would getassembled?
Harry (16:27):
I think um the the the bit that comes to my mind the
quickest was I remember we Tomcame down to stay and we were
just making a really big pointabout wanting to write a song
that we could sing on anacoustic guitar or a piano, and
that's it, and then that wouldbe a good song.
And if it's a good song likethat, we were listening to a lot
of like Bob Dylan, I know uhLou Reed was like one, and then
(16:49):
people who could just like playon their own and just like make
a good song.
And I think our first record uhwas a lot more like we were we
were jamming and playing guitara lot, and we were just having
so much fun playing ourinstruments that that it was a
more instrumental-led record ina way.
Okay, it is melodic, but it Ithink like it was always it's
very like musical, which the newrecord is, but it the
(17:13):
everything else kind of camelast after the songs were
written in in a more pure form,and then we got into like Yankee
Hotel Foxtrot and those kind ofrecords really big time, and
like just the ambition that likeWilco have uh kind of I
remember that kind of blew mymind the first time I listened
to that, and then I watched thedocumentary a lot, and then I
(17:35):
think did we watch it together,Tom, as well?
And I think that was like ahuge influence, uh just and it
was quite a different sonically,like less punky, I guess, yeah,
the stuff we were into.
So I think naturally when wethe four and five of us played
together, it's a lot you know,we have a sound when we just
(17:56):
play naturally, but so the songskind of still kind of even if
you're right, you were here andwe're writing here, they kind of
get brought back to the Eeds.
Okay, interesting, interesting.
Tom (18:05):
And also, I think the the difference between the two
albums is you can tell the firstalbum we'd spent a year jamming
in a warehouse that wasfreezing, and we were listening
to Gang of Four and jamming withlike three winter coats on and
five space heaters around us,and then moving to the the
(18:27):
second album, just wanting tolike relax into some songs and
just sit in grooves rather thanjump around and shout.
And some of the songs arewritten more on piano as well,
yeah.
Yeah, that informed it as well.
Harry (18:41):
Yeah, I think I think like also I'd we because we made
a second record that ended upbecoming the EP and we scrapped
five songs because we didn'tthink it was cohesive enough,
and then I just moved to my newstudio, which it's got like
nicer equipment and betterinstruments and microphones and
things like that.
Oh yeah, nice under floorheating, if you write this
(19:04):
place, it's a luxury, and we sowe just kind of uh I think we
were in at the first time wewere in what I'd call more
professional studio setting.
Okay, so we wanted I think wekind of wanted to utilize that
like we've got these like spaceechoes and fun things that you
know you can kind of mess aroundwith, like and get creative in
a different way, you know what Imean?
colleyc (19:24):
Yeah, yeah.
I wanted to ask you guys too,like I love you the guitar work
on on this record and previousrecords too.
How do you guys figure out whatyour guitar parts?
Like I mean it sometimes itsounds like you are strumming
exactly the same thing at thesame time, but other time one of
you is doing flares and theother might like how do you guys
(19:47):
determine how who's gonna dowhat and how that that gets
built um within the song?
Tom (19:54):
I think there's always one core guitar part if it's written
on if He writes a song on hisown, there's main there's one
guitar part that's like a coreone, and then we often will
either join up with that or workaround that.
It depends how we're writing aswell, and how whoever's singing
the song could often be playingthe chords, and then the other
person is just like, Oh, I'mjust gonna wing something here.
(20:16):
And then the earlier stuff,like going back to Gang of Four,
that definitely strumming likereally harsh stuff together with
no reverb.
That was a really consideredthing.
Harry (20:26):
Yeah, that was like equations working out.
Some of the guitar parts on ourfirst album was like we'd do it
in logic and like the grid andit'd be kind of we're into
trying, like, we didn't reallywant to play chords and we
didn't really want to like havenormal inversions, we were
trying to almost harmonize witheach other and things like that.
So it was definitely consideredin that way, which I don't
(20:48):
think we do as much now, maybebecause we do it more naturally.
But it on this new record, Ithink there's quite a few songs
actually when we recorded thelive takes where Tom's playing
the the Wurlitzer or like thepiano and all the organ things,
and are playing in like a rhythmguitar, and then we might add
afterwards on top.
Like uh you could have had itall on backwards, or like uh
(21:12):
good examples of uh two songswhere Tom was playing the
keyboard like when we recordedit.
Okay, yeah.
colleyc (21:19):
Yeah, before uh we hopped on, Tom and I were
talking about the transfer ofalbum to live and how that can
be tricky itself, you know, justmaking sure that it represents
a song well, but oftentimesyou're doing multiple layers and
adding little flourishes hereand there that it's hard to
reproduce the exact um.
Tom (21:41):
Yeah, what I was saying was uh it was uh an album with all
the luxuries of an amazingstudio, and then having to find
a and also listening towards aWilco and being like really
inspired by like the thearrangements of them, and then
moving from that situation to astage with five guys and working
(22:02):
out like how we actually playedthis live.
Harry (22:06):
We had some problems, but we worked it out.
Yeah, we were still kind ofworking on that really, because
I think we had you know, in someways, I think we got kind of
carried away with this record,just kind of the uh the concept
was to like keep adding and thenwe'll take stuff away.
You know, if you've inspired toadd something, just do it and
then we'll try it.
But then we kind of gotattached to a lot of the layers,
so it's it became quite like alike orchestral, uh like kind of
(22:30):
layered record that it wasn'treally originally intending on
being.
And we're working on a thirdalbum at the minute that is kind
of the opposite, where it'slike it's gonna it's it's very
live, and uh there's reallyminimal overdubs, uh some of
them, if any, apart from vocals.
Um because I think we justwanted to again try something
(22:51):
different where you know we justwanted to play as us uh and let
that be the sound, you know.
Totally.
colleyc (22:58):
And w what are you guys feeling about like the record's
been out now for what a monthnow, I guess, ish.
It came out October 30 noOctober 18th.
So what are we yeah almost amonth-ish.
What what are you guys feelingabout it now that it's been out
there in the world and peoplehave gotten a chance to listen
to it and did it strike thechords that you guys wanted to
(23:22):
hit with the um for me, for menot not massively.
Harry (23:27):
Like I think um we really believed in the record could do
like really well and we've Ithink we're living in a time
where it's can be difficult topromote uh records and try and
like get get heard amongst thecrowd.
That's why like you know, weget appreciated we appreciate
being asked to do these kind ofthings.
Um we do I think we've wereally like the record.
(23:47):
Um it's just you know we wewant as many people to at least
give it a chance and hear it, doyou know what I mean?
Which is which isn't alwayseasy to do.
Tom (23:55):
Don't know how you felt and it's also quite an ambitious
record if people had uh uh gotused to us being a post-punk
band and scrappy quick songs,and then being like, Okay, you
like that, but now we're gonnado something completely
different and please enjoy thislike three-minute saxophone
solo.
(24:15):
I hope the same people wouldlike that sort of stuff.
And uh the the receptionsgenerally have yeah have been
really good for the people.
Harry (24:25):
I think from a lot of our peers, uh like and people who
we you know care about havedecided it's like a you know
they're a noticeable step upthat you know.
I think the songwriting is isreally considered and something
we're really proud of.
So that as a record itself, youknow, I'm I'm pleased with what
what we made.
Cool, cool.
colleyc (24:44):
It's an excellent record.
I think it's uh definitely astep up from your EPs that you
had come out with the previousrecord as well.
Um I just love the sequencingtoo.
Like you bring us on this ridethrough this record.
Um it starts off with thatamazing uh what would what did
you call it, Tom?
Thrashing.
Like not really thrashing, butit's like in your like here we
(25:08):
go, let's go.
And then you pull it a littlebit back on the second and then
it flourishes up, and it's justthis beautiful journey.
And I think it's a record thatneeds to be listened to from
start to finish.
Um picking out singles to me isjust uh we're gonna play single
at the end, people.
Don't worry, you'll get here ifyou haven't.
(25:28):
Um but I really like how youguys assemble this record.
It it just it feels likesomething complete and mature.
And um I'm gonna go back andlisten again more attentively
after this with the trying topick out all these different
layers that you guys weretalking about.
Harry (25:45):
Um just weird like vocal things where we'd put like
crappy mics through uh the spaceecho and then just set that
into oblivion that kind of justpop in and out, things like
that.
Tom (26:02):
That took a long time to to agree on.
I don't know if we agreed on itat the end.
I think uh for the most part,yeah.
But there was a lot ofconversations, and it's the most
boring conversations like onehundredth time you've talked
about having track two wheretrack three should be, and track
three where track four shouldbe.
Harry (26:22):
Interesting that like if one song moves, the whole story
of the album feels like itchanges, and then you're like,
Well, then that can't be there.
One person, I remember we gotit to a really good place, and I
someone was like, I don't thinkthis song should be the last
song, and it was like, Oh mygod.
It's like and it to the vinylmanufacturing people that day.
(26:44):
Right, too late too late, nomore opinions, yeah.
colleyc (26:49):
Well, it's a tough thing too, right?
Because it sounds like you guysare very um close friends in a
very close band where you careabout each other and you care
what each other thinks, not tothe point where you're critical
or anything, but you really wantthe best um representation of
what you guys do.
Um, so I'm sure there's tons ofnegotiation that go on there.
Um I love it though.
(27:11):
I just like I just feel thatit's just such a great
representation of um you know,indie alternative has these
garage rock lineage feel to it,post-rock um sensibility at
times.
So um bravo guys.
Bravo.
As we kind of bring this to aclose, what what uh what else
(27:33):
what what can you share with usthat's coming down the pipe for
you guys?
Um are you doing any more showsuh in 2025?
Any new music that you can talkabout that's coming down the
line?
What what's what's going onwith you guys?
Harry (27:47):
We've got a tour, we've got we've got a tour that we're
still kind of in the middle of.
Uh and then we've got anindependent venue week tour in
the UK in January, and thengoing to Europe, which will be
fun.
Uh, and then I think we're kindof really trying to finish this
third record soon.
Uh not sure when it'll be out,but it's we we've recorded like
(28:07):
eight or nine songs for it.
So uh yeah, we just kinda needto get it kind of over the line,
really.
Um is that a possible releasein 2026?
Is that kind of the as soon aspossible would be great, but
we're not really still too sure,I don't think, when when when
it was gonna be done, but itcould be one of those things
(28:28):
where there's the last couple ofto songs take forever to make.
But I think it's we've beenreally quick with it and it's
kind of come together reallyeasily.
Uh I'm quite excited for thatstart album.
Cool.
Tom, what are you lookingforward to?
Tom (28:41):
Uh we're playing a h a hometown show at Brudenelle
Social Club on the 27th ofNovember.
And it's always great gettingto play there because there's a
there's a magic to the placewith the history that it's had.
Um we always love that.
Of course, Europe in February,late February, March thing.
That's always good fun.
Van depending, you know.
colleyc (29:07):
That's when the band really gets to know each other.
Harry (29:10):
Oh, yeah, no filters.
Three jackets out again becausethe uh cold always seems to be
whenever bad we get.
colleyc (29:19):
Totally.
Well, that's amazing, guys.
Well, thanks so much again.
This has been a real treat tojust uh kind of look inside your
band and how it all is working,and I'd I'd love to have you
guys back on uh and I'lldefinitely promote your record
uh from here on in.
Uh it's such a great uhrelease, and thanks for putting
it out there.
(29:39):
Um like Wilco said, um, onceyou create something and put it
out in the air, it's thereforever.
Um you can't contain it on arecord or a CD or a tape.
It's it lives, and uh this onesurely does that.
So thanks for your efforts inin assembling this record.
Appreciate it.
(30:00):
And all the best on the shows,and uh we'll definitely uh I'd
love to talk to you uh guysagain as you march up that
staircase to stardom to superstardom.
Thank you.
We'll see.
Well, thanks so much, guys, andall the best.
Alright everyone, how here we are.
Anotherepisode of ifitbeyourwill
Podcast coming to you.
We dabble around the world hereat If Be Your Will.
We don't mess around, and todaywe're not messing around.
We're going over to Leeds inthe UK.
It's like a five-hour timedifference, but I have Eads here
who just put out a great recordcalled Final Sirens Call.
(01:00):
And I have Harry Jordan and TomO'Reilly here coming in.
And we're going to explore thisnew record, but I also want to
know how all this madness beganbecause it's quite an
interesting story.
So, guys, thanks so much fortaking some time and agreeing at
a late hour to come in here andtalk with me because I think
you guys are close to bedtime.
Harry (01:21):
Yeah, I actually got out of bed.
Well, we'll try to get you backto bed as soon as we can.
That's so good.
colleyc (01:34):
It's a pleasure to chat.
Yeah, I've just really beenenjoying this record.
Um, and all your music really.
And I've seen this kind of likeprogression, this like chugging
forward of maturity and how youguys are writing songs.
So I want to kind of dive intothat, but I'd like to kind of
get your backstory on both ofyou.
Um like Harry, where when didwhen did music start to be for
(02:00):
you and was gonna be for therest of what you do?
Harry (02:04):
I think my I was I was never very good at a lot of
things at school, really.
And then my granddad was kindof just music obsessed.
And uh when my parents uh uhsplit up when I was young, he
used to pick me up from school alot, and um he used to just
blast uh he used to think it wasfunny play uh blasting uh
teacher leave those kids carwindow while picking me up from
(02:27):
school.
So he kind of installed aslightly rebellious side in me,
but also my uh love for musicand um like the Rolling Stones,
the Beatles.
He used to kind of there wasalways a thing where he'd be
like, you can borrow this CD,but this one I'm having back,
and they never they never wouldgo back.
But uh yeah, he kind of got mereally into it and he started
learning bass at the same time Istarted learning guitar because
(02:50):
I kind of was nagging himsaying, Oh, we want to learn an
instrument, and then he kind ofuh was like, Well, I've always
wanted to learn bass, so we bothgot these kind of entry-level
squires guitars and kind ofstarted playing together and uh
just really enjoyed it, and thenyou know, I met Tom at uni uh
years later.
I think I was at nine when Istarted, but we were kind of
(03:12):
playing in different bands.
Um, and I really I basically myband I think supported Tom's
band or the other way around, Ican't even remember now.
But I just remember being like,wow, this guy can really play
the guitar.
It's kind of like he had hisheadband on at the time, and
it's like I think we put ourshirt buttons down to our like
belly buttons and just likethinking we were rock stars at
(03:34):
like trying, we were tryingsomething up, yeah.
We were do we were both doing athing uh and similar thing as
well, and yeah, we kinda we kindof got on really quickly.
I think we just got on as likefriends for quite a while first,
and we were both kind of stayeddoing separate bands, and then
uh I think as Ead's kind ofstarted uh as like a bedroom
(03:56):
project, um uh that I was justdoing, I was kind of recording
with Joe for all drummer, likein our bedrooms at uni.
And then uh kind of we wereplaying in another band that Tom
also played in called FarCaspian, and uh we had just
started looking to tour it orlike play at least play a show
with it.
Um, so I needed to get a bandtogether, and then Tom seemed
(04:17):
like the obvious person becausehe was the best guitarist I
knew, really, in league.
Right back up, yeah.
And so we kind of just went andit just went from there and it
kind of just snowballed, really.
Like as soon as Tom joined, itfelt like a real more of like a
band.
Yeah, and we kind of started asthe years have gone by, we've
kind of just written so muchmusic together but separately.
(04:39):
Yeah, uh, like in lockdown, wedid we I kind of felt like
neither of us had anything todo, so we were kind of writing
songs, sending each other thefiles.
So I remember I'd write like aninstrumental.
Tom would receive theinstrumental that evening, write
the lyrics for it the next day.
While I do another one, he'dthen send the lyrics back.
And it was just a songwritingmachine, yeah.
It kind of turns I think wewrote like 50 songs or something
(05:03):
ridiculous for our first album.
colleyc (05:04):
Yeah, I read that.
It was like 60 plus songs thatwere like ready to go, and you
had to like dilute it.
All right, what are we gonnachoose?
Harry (05:13):
That's amazing though.
Like it was quite it was quiteyeah, we know in a way lockdown
was like good and bad for us.
It like stopped us being ableto play, but it made it gave us
a lot of time to like just writelike relentlessly and kind of
hone that craft.
I don't know that like and andand yeah, just we've just kept
doing it really.
colleyc (05:31):
I don't know if you've got anything to add, Tom, but
yeah, Tom, like what uh tell uslike do a little rewind too.
Like, when did music reallystart resonating with you as
something that you just love todo?
Tom (05:43):
Um, it was probably the Beatles started with my dad.
I think that's the same witheverybody.
Well, a lot of people, sure.
Um, but in terms of playingguitar, I think I saw my dad
teaching my sister guitar, andit was purely out of jealousy
that I was like, no, I want toplay guitar with my dad.
So I think that's what Istarted.
I was like six, more like ayoung jealousy there.
(06:06):
And then yeah, dotted aroundloads of different bands, uh,
tried to emulate the cribs whoare also from Leeds for many
years.
Um and and then yeah, finallyfound a home in Eades that that
has stuck and through lockdownas well.
A lot of writing, and then wegot the had the opportunity to
(06:28):
like go to a cottage in themiddle of nowhere, and we spent
two weeks recording that album.
And we just set up everything.
Harry (06:37):
Uh that was quite that was quite crazy actually,
because we'd been signed by uhwell, we had loads of demos and
we called an EP and we'd justsigned to High Star Hit, and a
lot of record labels would belike, This is how you're gonna
make a record.
We were like, We're just gonnatake our six microphones to an
Airbnb somewhere.
And and they were like, Okay,fine, we carry on the story.
(06:59):
I just thought that was wildthat they even let us do that at
like to be five years old orwhatever.
colleyc (07:04):
Yeah, yeah, yeah.
And Tom, what when did youstart actually writing songs as
a youngster?
Tom (07:11):
Like um putting them together, assembling, yeah.
I think uh in my my youngerteen years, getting into Arctic
Monkeys and hearing a vocalistthat had a Yorkshire accent that
I did resonate with some thatin some way and reading enemy
magazine and all that.
Yeah, and that there wasdefinitely a switch where it was
(07:35):
I didn't want to be the bestguitarist, I just wanted to
write good songs from that pointonwards, really.
Nice, nice that's a littleshred from time to time.
A couple of bears.
colleyc (07:50):
I love this too.
Like, are you guys consideredor do you consider yourselves
kind of DIY?
Like, you guys tend to controlpretty much like the writing
process, the recording process,the mixing, the mastering.
Like, is that something thatyou guys have decided on as a
band that you would take on allthose responsibilities?
Harry (08:09):
Yeah, I think I think it came around largely for two two
big reasons.
One being budget at the time,like we just couldn't afford to
go into studios, we didn'treally have any any money for
for a long time.
And um also I really wanted tobe a music producer as was like
a career thing, and and I whichI'm now fortunate enough to do.
I'm kind of sat in the studionow, and um it was a way to just
(08:33):
be able to learn how to record,or like we just bel we just
believed we could kind of do it.
Like uh Joel in Far Caspian,who me and Tom played guitar and
bass in for a long time, uh,for the live band, he
self-produced everything and wasa little bit older than us.
I think kind of seeing him doit was like, well, we can do
this too.
And it kind of uh I think wewere in a in Leeds at the time
(08:56):
was kind of a lot of peopledoing that, and kind of if at
the time it felt like it, therewas a lot of people and that
kind of mindset.
Um, and I think having if I nowknew what I knew then about
production, I'd probably say,Don't do it.
Producing my starting out, justlike get a producer.
(09:16):
Because I think I would haveloved to hear that first record
had it not been us also tryingto record anything for the first
time, you know.
Great to all of that.
But at the same time, I'mreally proud of that record.
But I think that's how it kindof started.
But uh but in a way it's beengreat because we've kind of
learnt all those things to apoint where we now really can do
that and be confident that youknow we can achieve a standard
(09:39):
in the production value as wellas the songwriting.
And I and I still believe likesome of my favourite songs or
records, you know, sound likethey're recorded in someone's
shed.
And you know, at the time ourinferences were really raw music
that you know was done withlike four microphones or you
know, on a conception.
colleyc (09:57):
Yeah, there's a certain aesthetic though, eh?
Tom (10:00):
Tom, yeah, add in please about the not producing the
early stuff.
Well, I think the first EP, theway that the drums were
produced is great because Harryjust didn't know how to produce
drums.
colleyc (10:14):
How do you say it?
Like, how give more detailthere, put some light on that.
Uh, I don't I don't know how todescribe it.
Because it's a hard thing to dodrums, right?
Because there's many of them.
Harry (10:23):
And like, where do you put the mics to like get I just
kind of got some plugins and Iremember being like, oh, this I
was really into the band Omni atthe time, and their drums just
sounded like they were justdistorted, completely blown out.
And I didn't know how toachieve that sound.
I just knew if I just I gotthis uh plugin called the
decapitator, which just likerips things to shreds, and I
(10:44):
think I just that was on everyon like the kick, the snare, the
overhead, the room mic, becausethose are the four mics were
just completely blown to bitswith this distortion.
And actually, I looked, I wastalking to somebody this other
day, I had a look at one of theold projects, I found an old
hard drive, and I knew that youhad to use compression, it was
like a thing you had to use, butI just thought I had a look at
the the dials, and none of thedials were actually moving.
(11:07):
So I thought, here's an LA2A, Ineed to put that on a vocal
because someone's told me that'swhat I need to do, and it
wasn't even compressing.
So someone said to me, like, Ilove how uncompressed your early
stuff is.
I was like, I thought I putloads of compression.
The idea was there, yeah, yeah.
I mean, I think those likethose interesting like things
(11:27):
like you know, I are quitecharming in a way.
It's something I I I was kindof looking to achieve that
without realizing just naturallybeing naive was achieving that
in itself, you know.
Beautiful.
colleyc (11:39):
I mean uh every experience is more information
and you know, a step forward,hopefully.
Harry (11:45):
Yeah, yeah, exactly.
And I think I I think that'slike similar to why like you
know, Jack White didn't want MegWhite to have drum lessons
famously.
It's like there's uh I thinkyou know, there's a beauty and a
lot of innocence, which I thinkright now when I listen to our
first record, is is why I stilllove it so fondly because it
felt you know really youthfuland on and like honest and it
(12:08):
has that charm to me anyway.
colleyc (12:10):
Totally.
No, I totally feel that.
Like and looking at theprogression of as well of uh
your evolution so far.
I mean, this has been since2019 really that you guys have
been together, and I mean thosesix years are I mean, you've
come up with something that uh Ithink can just keep growing and
growing and evolving.
Um Tom, what was the first songyou ever brought to to Harry?
(12:34):
And why did you choose thatone?
Like, how did you guys startintroducing each other as
singer-songwriters or as uhsongwriters, I guess I should
say?
Tom (12:42):
Like I definitely started with Harry's uh like almost
Harry's solo project, definitelythe early stuff.
And then I think it just slowlyseeped in the more that I just
stayed at Harry's house.
And was it maybe Reno was oneof the early earliest that I
(13:03):
wrote on?
I can't remember now.
Yeah, yeah, probably probablyyeah.
Harry went for a period of notliking to record the vocals and
lyrics, or not like writing thatas much because you can rattle
out an instrumental reallyquickly, and I love doing all
the lyric stuff, so I was like,Well, I'll do it, I'll do that
stuff.
So then then it slowlyprogressed where we'd have
(13:27):
songs, days like that, where I'dwrite on top of stuff, and then
other days where I can'tremember the first fully formed
song that I brought, maybe itwas liquid gold, it could be as
well.
It might might have been liquidgold.
colleyc (13:39):
I think it's beauty.
Tom (13:41):
I've written more full songs on the later stuff than
the earlier stuff, where wewould it would be more and then
now on an album we're we'reworking on now, we've really
just split down the middlebecause Harry's got a lot of
stuff he wants to say, and thenso we're just kind of writing
six of our own songs each andmaking them as good as possible.
But that's anotherconversation, another sound.
Harry (14:04):
Fade away was another one that Tom just like because
liquid gold Tom kind of did, andhe had like this other version
for it that was really nice aswell.
It was like a slow version ofit, and then we kind of
re-worked it out together inlike logic, but fade away was
like completely just Tom's song.
Um, and I think it's like ourmost streamed song.
It was quite a naturalevolution of of just like us
(14:28):
being around each other a lot.
Like it wasn't really aconscious thing one day, I
think, where it was like Tom,you're gonna do you want do you
want to do you wanna?
You know, it was your turn.
It just yeah, yeah.
It just it just he was alreadywriting good songs with his old
band, and you know, the trust Ithink was already there between
us.
Tom (14:46):
Also, the the amount the amount of conversations that we
would have about what we wantedthe songs to be that then
informed what I was writing, itwas it was an Eid song while I
was writing it, just because ofhow much me and Harry would talk
about what we want it to be allthe time.
So it naturally then ended upwith Eid songs would come out of
(15:10):
me.
Interesting.
Harry (15:11):
And also think we're quite we're quite good at like I
don't know if producing eachother or like like we can take
each criticism from each othervery well where like it's not
like offensive, it's just likethis isn't that's not right,
okay.
Yeah, I'll scrap that.
What should I do instead?
Like I might sing and Tom willbe like uh don't do that or
that, try it like this, or viceversa, playing guitar, where
(15:33):
it's just like that's crap.
It's never like much of adebate.
We normally are quite good atjust streamlining no sulking, if
anybody says no.
colleyc (15:45):
I really like this song, I really like this.
Come on, man.
Yeah, no, yeah.
Harry (15:50):
When you play a demo, it's like the room of the guys,
and like they're not reallypaying any attention, you're
like, Yeah, I'm probably gonnaput this one in the bin or
rework it.
colleyc (16:00):
Well, I imagine too, with just the sheer amount of
songs that you guys have havethat you were, you know, that
you write.
Um how did how did the latestrecord come to be?
Like, how do how did you choosewhat songs?
I mean, you have quite a anarchive, I imagine, of songs.
What was the decision processas to how this record would your
(16:24):
latest record would getassembled?
Harry (16:27):
I think um the the the bit that comes to my mind the
quickest was I remember we Tomcame down to stay and we were
just making a really big pointabout wanting to write a song
that we could sing on anacoustic guitar or a piano, and
that's it, and then that wouldbe a good song.
And if it's a good song likethat, we were listening to a lot
of like Bob Dylan, I know uhLou Reed was like one, and then
(16:49):
people who could just like playon their own and just like make
a good song.
And I think our first record uhwas a lot more like we were we
were jamming and playing guitara lot, and we were just having
so much fun playing ourinstruments that that it was a
more instrumental-led record ina way.
Okay, it is melodic, but it Ithink like it was always it's
very like musical, which the newrecord is, but it the
(17:13):
everything else kind of camelast after the songs were
written in in a more pure form,and then we got into like Yankee
Hotel Foxtrot and those kind ofrecords really big time, and
like just the ambition that likeWilco have uh kind of I
remember that kind of blew mymind the first time I listened
to that, and then I watched thedocumentary a lot, and then I
(17:35):
think did we watch it together,Tom, as well?
And I think that was like ahuge influence, uh just and it
was quite a different sonically,like less punky, I guess, yeah,
the stuff we were into.
So I think naturally when wethe four and five of us played
together, it's a lot you know,we have a sound when we just
(17:56):
play naturally, but so the songskind of still kind of even if
you're right, you were here andwe're writing here, they kind of
get brought back to the Eeds.
Okay, interesting, interesting.
Tom (18:05):
And also, I think the the difference between the two
albums is you can tell the firstalbum we'd spent a year jamming
in a warehouse that wasfreezing, and we were listening
to Gang of Four and jamming withlike three winter coats on and
five space heaters around us,and then moving to the the
(18:27):
second album, just wanting tolike relax into some songs and
just sit in grooves rather thanjump around and shout.
And some of the songs arewritten more on piano as well,
yeah.
Yeah, that informed it as well.
Harry (18:41):
Yeah, I think I think like also I'd we because we made
a second record that ended upbecoming the EP and we scrapped
five songs because we didn'tthink it was cohesive enough,
and then I just moved to my newstudio, which it's got like
nicer equipment and betterinstruments and microphones and
things like that.
Oh yeah, nice under floorheating, if you write this
(19:04):
place, it's a luxury, and we sowe just kind of uh I think we
were in at the first time wewere in what I'd call more
professional studio setting.
Okay, so we wanted I think wekind of wanted to utilize that
like we've got these like spaceechoes and fun things that you
know you can kind of mess aroundwith, like and get creative in
a different way, you know what Imean?
colleyc (19:24):
Yeah, yeah.
I wanted to ask you guys too,like I love you the guitar work
on on this record and previousrecords too.
How do you guys figure out whatyour guitar parts?
Like I mean it sometimes itsounds like you are strumming
exactly the same thing at thesame time, but other time one of
you is doing flares and theother might like how do you guys
(19:47):
determine how who's gonna dowhat and how that that gets
built um within the song?
Tom (19:54):
I think there's always one core guitar part if it's written
on if He writes a song on hisown, there's main there's one
guitar part that's like a coreone, and then we often will
either join up with that or workaround that.
It depends how we're writing aswell, and how whoever's singing
the song could often be playingthe chords, and then the other
person is just like, Oh, I'mjust gonna wing something here.
(20:16):
And then the earlier stuff,like going back to Gang of Four,
that definitely strumming likereally harsh stuff together with
no reverb.
That was a really consideredthing.
Harry (20:26):
Yeah, that was like equations working out.
Some of the guitar parts on ourfirst album was like we'd do it
in logic and like the grid andit'd be kind of we're into
trying, like, we didn't reallywant to play chords and we
didn't really want to like havenormal inversions, we were
trying to almost harmonize witheach other and things like that.
So it was definitely consideredin that way, which I don't
(20:48):
think we do as much now, maybebecause we do it more naturally.
But it on this new record, Ithink there's quite a few songs
actually when we recorded thelive takes where Tom's playing
the the Wurlitzer or like thepiano and all the organ things,
and are playing in like a rhythmguitar, and then we might add
afterwards on top.
Like uh you could have had itall on backwards, or like uh
(21:12):
good examples of uh two songswhere Tom was playing the
keyboard like when we recordedit.
Okay, yeah.
colleyc (21:19):
Yeah, before uh we hopped on, Tom and I were
talking about the transfer ofalbum to live and how that can
be tricky itself, you know, justmaking sure that it represents
a song well, but oftentimesyou're doing multiple layers and
adding little flourishes hereand there that it's hard to
reproduce the exact um.
Tom (21:41):
Yeah, what I was saying was uh it was uh an album with all
the luxuries of an amazingstudio, and then having to find
a and also listening towards aWilco and being like really
inspired by like the thearrangements of them, and then
moving from that situation to astage with five guys and working
(22:02):
out like how we actually playedthis live.
Harry (22:06):
We had some problems, but we worked it out.
Yeah, we were still kind ofworking on that really, because
I think we had you know, in someways, I think we got kind of
carried away with this record,just kind of the uh the concept
was to like keep adding and thenwe'll take stuff away.
You know, if you've inspired toadd something, just do it and
then we'll try it.
But then we kind of gotattached to a lot of the layers,
so it's it became quite like alike orchestral, uh like kind of
(22:30):
layered record that it wasn'treally originally intending on
being.
And we're working on a thirdalbum at the minute that is kind
of the opposite, where it'slike it's gonna it's it's very
live, and uh there's reallyminimal overdubs, uh some of
them, if any, apart from vocals.
Um because I think we justwanted to again try something
(22:51):
different where you know we justwanted to play as us uh and let
that be the sound, you know.
Totally.
colleyc (22:58):
And w what are you guys feeling about like the record's
been out now for what a monthnow, I guess, ish.
It came out October 30 noOctober 18th.
So what are we yeah almost amonth-ish.
What what are you guys feelingabout it now that it's been out
there in the world and peoplehave gotten a chance to listen
to it and did it strike thechords that you guys wanted to
(23:22):
hit with the um for me, for menot not massively.
Harry (23:27):
Like I think um we really believed in the record could do
like really well and we've Ithink we're living in a time
where it's can be difficult topromote uh records and try and
like get get heard amongst thecrowd.
That's why like you know, weget appreciated we appreciate
being asked to do these kind ofthings.
Um we do I think we've wereally like the record.
(23:47):
Um it's just you know we wewant as many people to at least
give it a chance and hear it, doyou know what I mean?
Which is which isn't alwayseasy to do.
Tom (23:55):
Don't know how you felt and it's also quite an ambitious
record if people had uh uh gotused to us being a post-punk
band and scrappy quick songs,and then being like, Okay, you
like that, but now we're gonnado something completely
different and please enjoy thislike three-minute saxophone
solo.
(24:15):
I hope the same people wouldlike that sort of stuff.
And uh the the receptionsgenerally have yeah have been
really good for the people.
Harry (24:25):
I think from a lot of our peers, uh like and people who
we you know care about havedecided it's like a you know
they're a noticeable step upthat you know.
I think the songwriting is isreally considered and something
we're really proud of.
So that as a record itself, youknow, I'm I'm pleased with what
what we made.
Cool, cool.
colleyc (24:44):
It's an excellent record.
I think it's uh definitely astep up from your EPs that you
had come out with the previousrecord as well.
Um I just love the sequencingtoo.
Like you bring us on this ridethrough this record.
Um it starts off with thatamazing uh what would what did
you call it, Tom?
Thrashing.
Like not really thrashing, butit's like in your like here we
(25:08):
go, let's go.
And then you pull it a littlebit back on the second and then
it flourishes up, and it's justthis beautiful journey.
And I think it's a record thatneeds to be listened to from
start to finish.
Um picking out singles to me isjust uh we're gonna play single
at the end, people.
Don't worry, you'll get here ifyou haven't.
(25:28):
Um but I really like how youguys assemble this record.
It it just it feels likesomething complete and mature.
And um I'm gonna go back andlisten again more attentively
after this with the trying topick out all these different
layers that you guys weretalking about.
Harry (25:45):
Um just weird like vocal things where we'd put like
crappy mics through uh the spaceecho and then just set that
into oblivion that kind of justpop in and out, things like
that.
Tom (26:02):
That took a long time to to agree on.
I don't know if we agreed on itat the end.
I think uh for the most part,yeah.
But there was a lot ofconversations, and it's the most
boring conversations like onehundredth time you've talked
about having track two wheretrack three should be, and track
three where track four shouldbe.
Harry (26:22):
Interesting that like if one song moves, the whole story
of the album feels like itchanges, and then you're like,
Well, then that can't be there.
One person, I remember we gotit to a really good place, and I
someone was like, I don't thinkthis song should be the last
song, and it was like, Oh mygod.
It's like and it to the vinylmanufacturing people that day.
(26:44):
Right, too late too late, nomore opinions, yeah.
colleyc (26:49):
Well, it's a tough thing too, right?
Because it sounds like you guysare very um close friends in a
very close band where you careabout each other and you care
what each other thinks, not tothe point where you're critical
or anything, but you really wantthe best um representation of
what you guys do.
Um, so I'm sure there's tons ofnegotiation that go on there.
Um I love it though.
(27:11):
I just like I just feel thatit's just such a great
representation of um you know,indie alternative has these
garage rock lineage feel to it,post-rock um sensibility at
times.
So um bravo guys.
Bravo.
As we kind of bring this to aclose, what what uh what else
(27:33):
what what can you share with usthat's coming down the pipe for
you guys?
Um are you doing any more showsuh in 2025?
Any new music that you can talkabout that's coming down the
line?
What what's what's going onwith you guys?
Harry (27:47):
We've got a tour, we've got we've got a tour that we're
still kind of in the middle of.
Uh and then we've got anindependent venue week tour in
the UK in January, and thengoing to Europe, which will be
fun.
Uh, and then I think we're kindof really trying to finish this
third record soon.
Uh not sure when it'll be out,but it's we we've recorded like
(28:07):
eight or nine songs for it.
So uh yeah, we just kinda needto get it kind of over the line,
really.
Um is that a possible releasein 2026?
Is that kind of the as soon aspossible would be great, but
we're not really still too sure,I don't think, when when when
it was gonna be done, but itcould be one of those things
(28:28):
where there's the last couple ofto songs take forever to make.
But I think it's we've beenreally quick with it and it's
kind of come together reallyeasily.
Uh I'm quite excited for thatstart album.
Cool.
Tom, what are you lookingforward to?
Tom (28:41):
Uh we're playing a h a hometown show at Brudenelle
Social Club on the 27th ofNovember.
And it's always great gettingto play there because there's a
there's a magic to the placewith the history that it's had.
Um we always love that.
Of course, Europe in February,late February, March thing.
That's always good fun.
Van depending, you know.
colleyc (29:07):
That's when the band really gets to know each other.
Harry (29:10):
Oh, yeah, no filters.
Three jackets out again becausethe uh cold always seems to be
whenever bad we get.
colleyc (29:19):
Totally.
Well, that's amazing, guys.
Well, thanks so much again.
This has been a real treat tojust uh kind of look inside your
band and how it all is working,and I'd I'd love to have you
guys back on uh and I'lldefinitely promote your record
uh from here on in.
Uh it's such a great uhrelease, and thanks for putting
it out there.
(29:39):
Um like Wilco said, um, onceyou create something and put it
out in the air, it's thereforever.
Um you can't contain it on arecord or a CD or a tape.
It's it lives, and uh this onesurely does that.
So thanks for your efforts inin assembling this record.
Appreciate it.
(30:00):
And all the best on the shows,and uh we'll definitely uh I'd
love to talk to you uh guysagain as you march up that
staircase to stardom to superstardom.
Thank you.
We'll see.
Well, thanks so much, guys, andall the best.
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