Liam Guinane & Indey Salvestro - Windwaker ‘Albums Are A Lot Like History Books’

As their sophomore album release quickly approaches, Windwaker are in the final stages of preparing themselves for the big release. For some, this means thinking about the future, but for the Melbourne powerhouses, a note of reflection lingers in the air. From lessons of growth and expressions of shifting identity, Hyperviolence marks the band at their most profound and expressive yet. 

Wall of Sound sat down with Liam Guinane and Indey Salvestro for a very detailed chat about the album, set to release on July 12th. Enjoy the video or read on below...

My first question is probably the question you're going to get hit with a lot. Obviously, Hyperviolence is an amalgamated album that hosts all the songs from the Break the Rules EP. Now, this is quite a controversial topic, and it's gaining even more controversy than the whole debate of how many singles you get. Obviously, you guys are in favor of these amalgamated albums, but I'd be keen to hear your thoughts in a little bit deeper detail. What made you do this?

Indey: I reckon the label was the biggest influence on doing it that way, wasn't it?

Liam: I would say it was a factor, but I would say we'd had a lot of conversations with all of our team, both in management amongst the band and the labels, and we felt like the landscape of releasing music was a bit more single-driven. I suppose that also influenced the way that we were writing some of the songs for the album, of course. But we've looked at a lot of releases in more recent times. The album model that we've all collectively grown up with is something of the past now that we've got streaming. I think that definitely influenced it. I think it's fitting for the music and album that we wanted to make anyway. We wanted to make something that was quite present and in the moment and looking to the future. I think there were a lot of different factors that influenced us in dropping this waterfall of singles. 

Indey: I was just going to say we'd been watching how a lot of other bands and how a lot larger bands do it. There's been some really successful releases from Sleep Token. That one comes to mind first. There were a couple of others that we were watching and they had the waterfall structure going on and their releases went really, really well. It gave access to a lot of songs before the album and allowed their audience to digest those songs without the pressure of having to listen to a whole album, which is why I think it's that album structure that Liam is talking about is failing a lot nowadays because people just have a lot shorter attention spans or a lot less time to sit through a whole album. It gives a bit more respect to the songs, I think, in a way as well, where you can really highlight more than what you normally would be able to with their normal structure of release.

Liam: Absolutely. I think the other thing… I had a thought then, it just escaped me during all of that. But I also think it's a good opportunity for us with the amalgamation of sounds that you're talking about, to give a taste of a lot of different things and test the waters. I remember the thought I was going to have now. We've also noticed it's almost a response to how the Love Language album campaign went, which was more representative of a traditional album structure where there were three singles, but they came out in such close succession. I don't think it gave enough time for people to get enough eyes on the final release in the end. I mean, as we know, it still got a lot of eyes, and it did what it did. But we've even noticed just in our own analytics and watching from 'Sirens' to now, just the opportunity of each single getting more eyes and building and building and working more for a band of our size to focus on that so that when we do get to the release point of the album, it's getting the maximum amount of eyes that it possibly could have rather minimizing that time. You know what I'm trying to say? Turnover was another good example of the release thing as well when we were talking about examples.

It's funny that you mentioned ‘Sirens’ because I was going to go to that at the end! I think it's quickly risen to become one of your most streamed songs, if not THE most streamed song. Was there a time in the studio when you felt like that one was a little different, or when did it start becoming apparent to you that it had the recipe for what your audience and beyond was really craving right now? 

Indey: We wrote ‘Sirens’, and then it became the single that we're going to put out quite quickly. We had some of the other songs done already, but ‘Sirens’ came out. We go away and we write in weekly structures. We'll book out two weeks or a week, and we'll all go away and we'll write. We'd already been on one or maybe two writing weeks before the week that ‘Sirens’ was written. I think we knew that we had a single that needed to come out, and we hadn't even thought about what it would be yet. But then we wrote ‘Sirens’. Liam, I think you wrote the chorus melody for it, or you came up with it. I just remember all of us were like, this is a bop. There is this sound about the chorus that just made us go like, yeah, this could totally be the next single.

Liam: Do you remember if ‘Sirens’ was the demo idea that Jesse [Crofts - guitarist] came to with us and he was calling it the disco one? Or was that ‘Break the Rules’? I can't remember.

Indey: He brought the ‘Sirens’ breakdown, I think, or the verses. There was all that stuff.

Liam: I couldn't remember where he wrote that. I thought he might have done the chorus section musically, and that's where the base of it started. Then we started coming up with melodies. Indey and I tackled that chorus together, and we knew that it was going to be a really catchy, upbeat song. It had the balance of the heavies, but obviously still really showcased the melodic stuff a lot more. Especially at that time, I felt like, or we felt like it was imperative to keep the core of what Windwaker was because it was so early on in the transition of frontmen as well. To contextualize that a little bit.

Indey: It was a very pivotal single for us. We knew there was a lot of pressure on the next single that was going to come out.

Liam: Yeah. Because at that time, only ‘Left In The Dark’ was out. That got released really as a way of showcasing the new vocals while also having something new to deliver for those two tours at the end of 2022. ‘Sirens’, I had this melody that was humming out. I think there's a reel or a YouTube short or something like that, the process we did. Then Indey and I knew that we had to have some weird evocative lyrics to just open that chorus with. And then he was just like, what about something like “Girls on White Horses”? I was just like, Oh, yeah, okay. This is like, kooky enough that this will stick. That was a real pivotal point.

Indey: Because we kept... we had the melody and we were like... I don't know. It's almost like we knew that it was going to be the next single. Maybe we'd said it or something, and me and Liam were talking, we were trying to write regular lyrics for the chorus because we were like, well, if it's going to be the single, the chorus needs to be really- relatable. Relatable and digestible. Everything we wrote, we were just like, “no, that's not it. That's not it”. Then I kept thinking, so many of the really big songs that bands make have really obscure lyrics in the chorus. The one that I was thinking of the most at the time of writing was that Panic! At The Disco song, their most famous one, where it's like, “I chimed in”. When you actually look at those lyrics on paper, they're fucking weird. I was like, that's what we need. We need something super weird that's just going to be weird enough that it's even more memorable than if you did something basic. Then I was like, I don't know what came to me. I was just like, Liam, what about “I'm thinking of girls on white horses”? He was like, "yeah, all right. Yeah, okay, we can roll with that". Then he started adding to it.

Liam: It was funny that you use Panic! At The Disco as a reference because with the melody and how I performed it, at least when we were demoing it out, it really gave off an early 2000s Fall Out Boy vibe. I felt like I was singing like Patrick Stump, almost. Then with the Panic! getting thrown in there as well, just that juxtaposition of the girls and boys splitting that in the chorus structure. I just felt like it was just a real cool way of just being everybody now and almost displaying at least the chaotic, confliction part of the themes that eventually would run through the rest of the album as well. But I just felt like it was a good contrary thing to do with that chorus. It really started with that line that Indey just threw at me and I was like, alright, that's it. Let's run with it.

It definitely did its job because I can't tell you the amount of days I would wake up with it already stuck in my head and then the rest of the day, it would be in there as well. Just to move on from that, maybe this is more a question for you, Indey. Looking at the transition from the Empire EP and now to Hyperviolence, the frequency of sampling and electronic layering has picked up quite a lot. Did the band in its entirety have to learn new skills with their instruments or learn how to sample, or was this just something that was a natural progression to your instrumental skill?

Indey: That's an interesting question because back during Empire, Liam was still in the band, and he actually did most of the electronics for us back then.

Liam: And on 'Fade' before that, too.

Indey: And on 'Fade', yeah. We hired Liam before he was in the band to come and do all the electronic elements for the EP because Chris [Lalic - drummer] just didn't think he was up to scratch for it, and Liam was really good at it. Then Liam ended up joining. Then after you left for a bit, Liam, I think we lost that element. But Chris picked up the reins during Love Language. He, like you're saying, had to learn a lot of skills in order to level up his electronic work and synth and stuff for Love Language. Then Connor [Robbins - programming] came into the picture, and Connor brought even more skill into that. Connor is the main reason that there's way more synth and sample stuff going on in the new album and all the new music in the Liam era, because that's just what he brings. He's an electronics person. He's influenced by all sorts of electronic artists. His favorite artist is Flume. He's constantly like, whenever we're writing, “Oh, I could do something really cool there”. Then he comes back and he just plays this thing and it's this weird metallic sound and it's just like, how the fuck are we going to put that in the song? But then we figure out how to and it works. It's really defining a lot of our sound at the moment, which is great.

Liam: It's a good balance with all the people that dabble in the synthesis and the electronic side of things because Chris and I, I think we occupy more of a songwriting space when it comes to our applications of electronic music. It's a lot of beats and that stuff. I'm really big into my sampling. I'm a massive hip hop head, and that's where that initial part of it from the Empire era came into it. It was bringing those influences, but in a very more subtle way and keeping the heavy stuff at the forefront. Now we've flipped it a little bit, and now we're trying to keep the heavy stuff in with the electronic stuff that we're making. But I think it's just... I guess it is an evolution, but it's always been there. It's always been in our skill set. It's a cool thing to balance now because Connor's now adding things that I wouldn't know how to do and that Chris wouldn't know how to do. We're doing things that we wouldn't know how each other does it. It's cool. It's a cool balancing act. 

Indey: Yeah, and those are the things that really push our boundaries with how we like to write music because we're always trying to bring in elements that are external to the actual metal world. There's so much playing around with different sounds that you don't normally hear in heavy music. A lot of it comes from Liam and Connor that have these backgrounds in different genres, and they love that stuff. There's a song on the album that Liam wrote. It's one of the slowest songs on the album. The way that he wrote it, there's this one thing that he did where he uses his breath as a percussive instrument in the song. I was like, I would never think to do that, ever. I was so impressed. The song is so good. I remember after he brought it in and we started working on it together, I was just like this is literally a Liam Guinane masterclass. You'd never think to do anything that he's done in that song the way that he does it because you could do it in a normal way, but the way that you do it brings that element to the song that makes it so unique. I think that's what we strive to do with our music anyway. That's how we work.

I think obviously that's where Windwaker's charm comes from; the essence of being super extravagant, flamboyant, this mix of everything. I was wondering, you guys performed at KnotFest not too long ago, and the KnotFest lineup itself was quite an exaggerated age range this year. Was there a pressure to perform in front of these really traditional metal bands and fans? How did that go down for you guys?

Liam: It influenced the order and sequence in which we released music, obviously. It made Enter the Wall what it is because we were like, well, if we're going to play a festival like this with bands like this, we're going to need to be able to hold our own in a more traditional capacity. I think it did influence us a lot. I think for the most part, we were thinking about the first impression that we're really going to make and really be considerate about what that first impression is and how we're showing ourselves off. I hope that makes sense.

Indey: It influenced the setlist. It influenced a lot of decision making, but it didn't define how we wanted to present ourselves.

Liam: We wanted to still be true to ourselves.

Indey: Yeah, because we can't change music. We are what we are. You either like it or you don't. The reason that we're at that festival is because people resonate with our music and also it provides something a little different to what is on the festival already. The people that organize these things want that range in the music. You never know... we've had a lot of people that are in that age bracket that absolutely love our stuff and think it's really cool and unique. Then we've got people that absolutely hate it as well, which is great. There was a comment on one of our music videos that popped up after KnotFest. The guy was like, I don't know who it was, but the comment is like... “how dare you guys come into my city with your yo-yos and your boombooms or whatever the heck, never come back to Brisbane”.

Oh my God.

Indey: I just lost my... I lost it when I read that because I have a clear image of what that person probably looks like or whatever. But I think that's great. That stuff is conversation starting. And you're never going to please everyone, but it's important that you spur some reaction in them rather than bore them. At least they had a nice little aggressive reaction to us.

Liam: Being the best or the worst is way better than being mid. I was going to say, too, it's really cool to see people that are of a certain age bracket that can identify with what we're doing based on things that have come and gone. I suppose there's people that are finding or resonating with more of, I guess, the nu metal or the rap metal crossover that we're doing and likening it to things that they were nostalgic for 20 years ago. Obviously, we're doing it in a different way, but it's cool that people can liken us to a Linkin Park or Limp Bizkit or something like that. I haven't really seen that. I think that's just us just getting thirsty. No, it's really cool that we can appeal not just to a younger demographic, but all age brackets. My mum loves our music, and she doesn't like screams, but she listens to us.

I feel like Hyperviolence is this massive turning and talking point for you guys, going on from the KnotFest comments I feel like there's some elements of going into this style where you have found yourself forced to gain this hypervigilance about people misconstruing what you're doing, especially with AI fusion (because we all saw that incident). Is this something you've dealt with on more than that occasion and how do you find yourself backing up from it?

Indey: That was the first odd accusation we've ever had online. We weren't expecting it at all because it was a release day and we were all pumped for it. Then this band that we'd never heard of started accusing us of using AI and being generic, and we were like, cry about it. One, it's not AI. Two, I have no idea who you are. Not even going to respond. We weren't really going to respond to it, but we wanted to. You can't help what people say about you online. That's just life. We're all on the internet. We know the internet well. We know how it works. If someone makes stuff up about you online, it is what it is. That's their opinion. But if the facts are wrong, that's the only time where I'm like, okay, you got to actually disprove that because I don't want people thinking that we have used AI cover art. We thought, how can we do that without feeling like we need to respond to everything else? Oh well, let's just post a picture of the AI art being made and then say 'cry about it' because that feels very Windwaker of us.

Liam: There's a nuanced response that I have to that whole situation, and I don't think I've had a full opportunity to address it. But for the most part, I think what they're talking about, what they're tapping is not totally off base. I think that they pretty much picked the wrong example in this case. That was just the general consensus that we had as a band anyway, I think. But what they're saying is not wrong. It feeds into larger conversations that I've read and listened to about even where metal is going in a more commercial sense and what that means for more traditional metal. Forms of metal and what that means for fans of traditional metal. Not just metal, I guess, in all musical genres in this streaming, internet-based climate that we're in. But yeah, it was just disappointing that that was targeted to us because we do try to work hard at pushing the envelope or challenging ourselves. To be lumped in with essentially content creators online that happen to make music. That's the bucket that I throw it in.

Indey: It was just a bad take, wasn't it? It was an interesting take in terms of the overall scene, but it was a bad take on us. I don't know. I'm with you, Liam. We've always been a band that is never going to write the same song twice, is always going to try and push the boundaries. I think the evidence for that is that the length of our growth has been slow but continuous, and it's just started to have that exponential push, which is great, and we need that. We probably could have written some stuff that fed into a bit more of a universal space that allowed us to grow a bit quicker, but that's not us.

Liam: All we're trying to do is just make music that's true to us and the things that we like. That's really it at the end of the day. I can see where they're coming from and what's triggered that. Obviously, they've got a project that's been out for a few years that's of the same name, and it just happens to be coincidence based on being a one-word title, unfortunately. We spent a lot of time thinking about the name for it, and this one was the one that stuck. That's all I'll say about that.

Indey: They're certainly not the first band to have the same album title as someone else. But there's not much you could do.

I did like how in both your answers you were talking about this growth and remaining true to yourself. Obviously, Hyperviolence is your sophomore album. I think a lot of people will ask, what did you learn and change from your album process and cycle? What I am more interested in, is there something that you found really worked in Love Language that you've kept maintaining or something you've done in the process that you just had to do again for Hyperviolence?

Indey: I think we've always been a band that writes collectively. I think what's worked for us, especially with Love Language, has been our ability to combine the heavy and the pop elements. People always tell us that we have really catchy choruses, and then they get thrown because you come out of the chorus straight into this really heavy section or something like that. There's always very interesting aspects to our music that are genre blending. We experimented a lot with that on Love Language, and I think there were some moments that really worked and there were some moments that didn't. We took the things that worked into how we started our writing process for Hyperviolence, but it definitely didn't define how we wrote Hyperviolence. It was very much an open book because of the fact that the lineup had changed, and we've always written as a group. You'll never write the same way with different people. It's always going to be an adjustment. The best part about Hyperviolence was learning how to write with a new group because we had Connor and Liam was back in. We'd written with Liam before, but Liam's a different person three years on, he brings new things to the table. Why would we want to stick to how we'd written on Love Language when we have all these new opportunities to find something interesting? That's why I think a lot of us are in a band in the first place, is to make art in a way that invigorates our creative souls and doing that through collaboration.

Liam: I think I'll also add onto that. One thing, obviously, I can't talk too much about the Love Language writing experience not being there, but I can contextualize that a little bit with saying, we had a bit of a process on Empire where we would write the music and then the lyrics and the vocals came afterwards. I think the boys, when they were making Love Language, spent a bit more time writing that in synchronicity so that there was a bit more of, I guess, more of a consideration of what role the vocals play. I think that worked to the benefit of the songwriting on Love Language. We definitely tried to keep that going and that process going with Hyperviolence. Just as the boys are writing the music, I'm either in the room on my notes app just scribbling, or I'm downstairs with the earbuds in trying to get this section down or this chorus down as we're getting it put together. I think that's something that's really helped me a lot as well in terms of creating and expressing ideas that are a lot more cohesive with the music and also allow the music to follow the vocals in a way, rather than having this static thing that we just got to place vocals on top.

Indey: I will also add that Hyperviolence, Liam and I in particular, it's a much heavier album than Love Language, and we really pushed for that. That just comes from observing the world and seeing how people are feeling now. There's a big resurgence in a lot of heavy elements to music. The world's a lot angrier, I think, post-COVID and still recovering from a lot of stuff.

Liam: We were also going through a lot of turbulent emotions going into this process as well. Obviously, things were all on good terms, but there was a grieving period in a lot of ways with what was going on. That loss that we had, but also the gain. For a long time, it was hard to see it as a gain. I’d be coming back to the band. I don't fault anyone for feeling that way because it was at such a pinnacle point. You just released a debut album, so there were a lot of feelings. I think that heaviness is what reflects that. Even just the anxiety of like, okay, where are we going here?

Indey: There's a lot of pressure on it. The heavy elements did come out of that. It also came out of the pressure of the second album and the new vocalist and being able to live up to the first album. Music is such a personal experience and a personal art form, and you're always going to get to the core of how you're feeling and how you're existing at the time when you're writing. Usually, and hopefully, that's what resonates with the listeners when it comes out.

You talk about this album having a lot of angry feelings and intensity. It's obviously an opportunity as well for you guys to present that when you're playing shows. I mean, only a few nights ago, you were doing these gritty and sweaty small-cap shows. It leads me to wonder, what environment do you think your very intoxicating live shows now fit in? Do you love it in these like, hellish wall to wall pit venues, or do you guys find a different confidence in the lights and production of a festival set? Where do you find yourself more comfortable now?

Liam: I think our music is heading or it's at least being considered in a way of translating to a bigger space. It was really interesting playing a couple of nights, these new songs, in a smaller space. We've not had the opportunity to do so yet. It was certainly very interesting. It was great to note what parts about the new stuff resonated and translated in that small space. But I think there's an element of, or awareness, at least, of where we are at and where we're going. Really fast, notey riffs and technical shit doesn't really translate to bigger venues. I think that's something we tried to consider a little bit on this album. We might return to having a bit more complexity in our musicality in the future, but for this one, at least, we really tried to focus more on the songwriting and how that would translate into a bigger live space.

Indey: Yeah, it's true. It's all about goals, and where you see yourself ending up. Everyone that's in the band dreams of playing the bigger places, the venues, the arenas and all that stuff. Liam’s right, it's reflected in our writing. I mean, if I had to pick one or the other, I'd pick the bigger shows just because I love going out to a massive crowd and just seeing all those people. I think the adrenaline rush you get is a lot bigger because the stakes are higher, there's more pressure to perform. That being said, playing these smaller shows has just reminded me how fun it is to be intimate with a crowd. You don't get that at the bigger shows. There's a stronger connection with the audience at smaller shows because they're right there with you and you really see everything and you feel everything. The relationship between the audience and the performers is a lot more vivid, I think.

Liam: Yeah, I'd agree. Also, with these smaller shows, too, it's not some big production like we would on a bigger headliner. I think we're now in a space where we're trying to think about our live show in more than just the music and the performance, but what experience are we going to create with extra shit, with production. I think it's cool to strip all of that away for a few shows and then really bring it back to basics and, as they say, get the fundamentals right. It's cool. I do love the smaller rooms. I love having that real close, intimate connection. Sometimes it's a bit daunting, but I prefer it over having that two meters gap with a barrier. You have to work harder to get people to really have that energy transfer.

You do have some of these challenges coming up when you're embarking on a tour in the States, which is a massive bill to be on. This is my own selfishness wanting to know, obviously, they will be the first shows with the whole album being out and your catalog has grown exponentially. Are there any internal conflicts as to what to cut, what to put on? Is there anyone fighting for a certain song?

 *Both really laugh at this question*

Indey: Yes. Yeah, massively.

Liam: It's a good problem to have, and I think we all acknowledge that as a band. I think it's been the battle of, we're in this new era now. We need to showcase it, versus, these people have been waiting so long, and they've heard so many releases thus far, and there's so much music to pick from, but we've got 30 minutes. There's definitely been arguments. It's not been that heated, but it's been like, alright, what are we cutting here? Then it's just like someone else will throw a spanner in the works and be like, “we should play this”. It's just like, Oh, far out.

Indey: We've really had to think about it. Obviously, we need to focus on the newer stuff, but it's an audience that's been around for a while. We’re growing, obviously, but there's people there that are asking for things off Empire. It's just like, damn, we can't fit that in, or can we? Then we have all these discussions about it, but we've only got 30 minutes and we have to just focus on what we focus on. I don't know. It's difficult to talk about when all of us want to play different songs because it is such a big catalog. Also , because we had the vocalist change over, Love Language's tour cycle and its whole album cycle really got cut short. We were supposed to take that album overseas, and we never got the chance to because we had to swap vocalists and move on as quickly as possible in order to keep the momentum going. We didn't get to take a lot of those songs, which we probably would have been able to take some Empire songs over during that album cycle. Now it's an even more difficult process because there's even more songs. It's a tough one because all you want to do when you go over there is just satisfy the fans that have been there since day one and then also satisfy the new fans. What do you do? There's no answer.

Liam: Yeah. That's the thing. We can also cater to the people that do know us, but then there's also the consideration of, well, there's going to be a lot of people that don't know us, and this is, again, going to be a first impression, not best. What is going to be the most beneficial song? What's going to be putting our best foot forward? What's the best first impression we can make? There's a lot. There's songs on Hyperviolence that we're probably not going to be able to play. I think we've found a good balance with the setlist. We have agreed on it now and it's set in stone. I think it'll be very enjoyable for the audience. It'll be a good balance of stuff. I think it'll just be good fun.

Indey: We settled on it's not our tour, it's not a headline, it's not an album tour. Of course, we're not going to play all of Hyperviolence. You just go back to what's the reason for us being there at that time and what songs benefit that reason the most. For us, we're going there. It's our first time in America. We're trying to grow our audience in America, and we're going to play the songs that we think will best do that.

As long as next time you're in Sydney, I still get ‘Lucy’, I'll be happy with the decision.

Indey: Fair enough. ‘Lucy’ is going to be a hard one to ever get rid of, I think.

Just to close up, if you guys both could describe what Hyperviolence means to you in a sentence or two, I'd love to know.

Liam: Hyperviolence personally means to me… it’s like a time capsule of this moment. Coming out of COVID, having a lot of personal development, but also a bit of an identity crisis as well, and stepping into something that's not completely in my control. I'm not completely in control of how people are going to view me, how people are going to receive me, and also how I'm coming to terms with that in a lot of ways. The album is in a lot of ways about these two personalities that are within one host. That's what I've tried to display conceptually throughout every song. It's about the development of coming to terms of who you are versus maybe who you're expected to be and basically finding that synergy. Maybe those two personalities can interlock and it can be a balance and it doesn't have to be a struggle or a conflict or a fight. That's what it means.

That's beautiful. I love that.

Indey: The way Liam describes it is also, for me, the way that you would listen to the album in terms of thematically. For me personally, I think it also makes me think about the progression of myself and the guys in the band as people over the last couple of years and all the stuff that you go through and the amount that you can change over such a short amount of time because of certain things or because of experiences or even just a conversation that trips something in you to make you a different person. I think when we first started writing the album to now, all of us are already quite different people and we're growing as people and as artists. Albums for me are a lot like history books in a way, where from a musician's standpoint, it's like that is a very specific moment in time in an art form that represents a journey over a couple of years with some very close friends of mine that I'll always look back on and listen to. Music is very influential in the way that you store memories. When I listen to that album, I think of very specific things. This is probably digressing off into a very different way to look at the album from someone who's written the album. In terms of how someone would view the album when they're listening to it, I would go back to Liam's answer. But for me, it's very much just pocket in time.

Liam: That's exactly what I mean by time capsule. I see any release that I put my name to a bit like that. It's a chapter. I'm hoping to one day look back on my career or musical journey and have these timestamps and they manifest in the form of a release or an album. That's what this is.

I finally got my hands on the stream this afternoon, so I can listen to it very soon. Those answers have made me even more excited to listen to it. I'm very keen to get stuck in.

Indey: I hope that you get a bit of an experience when you listen to it from front to back because it's very much a psychological journey the way that it's written. I'm really interested to see what people say about the actual album listened through.  

Interview by Georgia Haskins @ghaskins2002 

Hyperviolence is out July 12th. Pre-order here.

Windwaker – Hyperviolence tracklisting:

1. Infinity
2. SIRENS
3. Fractured State of Mind
4. Break The Rules
5. The Wall
6. Villain
7. Get Out
8. Haunting Me
9. Vertigo
10. Hypnotised
11. Venom
12. Tabula Rasa
13. Juliet