Vistas: Touring, Tuts, and Teasing

words fae liam menzies (@blnkclyr)

It’s a sunburn inducingly warm day in Glasgow and already you’re probably asking yourself “is this interview lying before it’s even started” but no, it really was one of those special afternoons where the weather wasn’t as bleak as most of the general public were. Sitting (well standing, the tables turned and I was put in the hot seat) out behind the rubble littered back streets behind the iconic King Tuts venue, Prentice (vocals + guitar), Jamie (bass) and Dylan (guitar) of Vistas all crowd around the touring minivan, their soon to be humble abode when the boys set off a UK tour later this year. 

The prospect of a UK tour probably seemed like a faint glimmer in the band’s eye when things started off back in 2016 but two years later and the Edinburgh based band have found themselves excessively trailing over the country, accumulating millions of streams on Spotify and rubbing shoulders with inspirations like Circa Waves and The Magic Gang. Their brand of indie pop tunes, having started off more in the rock side of things, has obviously struck a chord with fans who have stood by them as they’ve further tinkered with it. According to Prentice, fans can expect a new EP in “September, October-ish” which they feel will be more of a new chapter for the band compared to their first one Medicine.

When it comes to prodding about the long-anticipated debut record, the answer is a bit murkier, Prentice simply saying that the band doesn’t want to force things out until they feel more comfortable. “We’re a very cautious band and we don’t want to do too much too soon before we’re ready and we get asked quite a lot when that album is coming out but admittedly we’re not prepared to do it“, going on to say how excessive touring can throw a further spanner in the works.

On that touring note, the boys aren’t taking things lightly; “We’re set to do around about 24 shows in the space of 30 days, give or take” Jamie states, teasing that there are quite a few to be announced though goes on to clarify how fatigued the experience can be. “When we did our first UK tour with touts, we were away from home for a month and looking back it wasn’t all that bad. Compared to our last two shows in London, we were absolutely done in from it” though Prentice builds on that by saying the horrible heat hasn’t helped matters which is probably for the best considering the energy of a Vistas show is a huge drawing in factor, both in the fans’ view and the band’s.

We’ve come on quite a bit the past six months but I think the fact we care so much gives us that edge, especially when we’re aware that people are spending £8-10 that they could spend elsewhere” Prentice chimes. Dylan chips in to say that while there is definitely that element to it, the band themselves have so much that they make the trip that people venture on to see them worth it, Jamie mentioning how many are off to see them tonight from Edinburgh where that journey can last twice as long as their set.

As the interview draws to a close, and Graham (drums) appears, no doubt from the drawn-out soundcheck that had happened prior to this, I wish the band luck on their performance tonight though I could have done the complete opposite and they would still have a successful night: photos from the Tuts gig flood into my social media feeds, the venue looks packed to the brim as the gratitude of the members are unashamedly painted on their faces. It’s easy to fawn over the popularity of Vistas but what’s worth mentioning is the sheer down to earth attitude that only goes to add to their likability: millions of listeners could easily fill up an ego but all that extra air has gone straight to their lungs so they can keep that consistent quality more than steady. 



Glasgow rockers Codist talk LP2, hot topics and Shark Tale

words fae liam menzies (@blinkclyro)

In a rather apt turn of events, the initial rendezvous point for the interview you’re reading right was closed, meaning a last minute plan to the pub/restaurant was concocted: I don’t know what kind of metaphor I could weave to explain the connection between tasty vegan food and Scottish rock outfit Codist but I assure you there’s something there.

Attempt at a smooth intro aside, it’s hard to think of a band in the local scene who are so deserving of praise and love, or more so than they’re already getting, than Codist: first popping up on the radar with their Loverscruff EP, the boys have been on an upwards trajectory since 2015 which culminated in a debut record the following year which won many people over, including this site, which resulted in them placing high on AOTY lists and gaining some well-deserved attention. Said attention came from a notable place, that being Lorenzo Pacitti of LP Records fame who chose the band to be one of the first acts on their newly established label. Phillip Ivers (vocals + guitars) mentions how it all came about:

A few of us have worked with him and it was Record Store Day 2016 where he asked us to play instore – we stayed in touch since then and when it came to the time that he wanted to have a label to do with the shop, he got in touch since we were his first choice to have on it.

The band haven’t wasted time since signing onto the LP Records label, dropping an EP  titled Porcelain Boy earlier last year that Michael McClure (bass) claims is the ideal segway between their debut record and what they’ve got cooking in the studio at the moment: “I think it flows quite nicely and it makes it a lot of sense since there are a few songs on Porcelain Boy that could fall on either the debut record or whatever we decide to call this new album“.

SPEAKING of a new album, it wasn’t long before details were being teased as well as the charming comedic side of the band came out with the biggest info dump of them all coming from none other than Tom Fraser (guitar + backing vocals) who announced there would be “at least ten songs” with a pause left after for this to sink in. Chris Curry (drums + piano) chimed in after to point out the nice mix of content they’ve got prepared for the record: “there are a few slower based ones and even a country-ish one so it feels we’ve got quite a nice flow and tinkering going on in the studio“.

There were a lot of hiccups, technical ones I must clarify, and a lot of stress (Michael mentions there were points they thought they were going to lose it followed by a laugh) but that they’re happy with how things are going. “When can we expect to see the new album come out,” I asked, and was welcomed by four different answers, the humour of which wasn’t lost on the boys – they ultimately agreed that it’s likely we’ll see a Q3 release for the album so there’s not long to go.


Despite the fact they have an anticipated album in the works, the band were incredibly laid back and seemingly in their habitat. One highlight of the night included a thorough five-minute discussion about noughties animation, where Tom revealed his apathy for Shark Tale that “didn’t have enough Martin Scorsese” and the band passively agreed on Open Season being terrible. When I decided to ask the band about their favourite albums of the year, the tables were turned as Phil took my phone and proceeded to ask me: sadly, I can’t reveal the top 5 listed but there wasn’t any eye-rolling from the boys in attendance. 

You’d probably be right in assuming that Codist are a bunch of jokers but it would be incredibly naive to write them off as not being self-aware or well informed – when the question of punk bands changing their name is brought up, Chris mentions that the argument that this strips away the punkness is counterproductive, saying that “if being punk means being intentionally ignorant and relying on a name then what’s the point”. The band all agree, especially when the issue of diversity is brought up: Phil mentions the number of female acts he knows yet he notices most lineups in Glasgow are male-dominated, something that he hopes to see change, mentioning that Codist will try to make sure it isn’t just more of the same.

After the professional discussion is done with, you as an interviewer usually find yourself shaking hands and awkwardly stumbling away: against the curve as always, I chatted to the boys for a good hour after all the official business was finished. They’re a welcoming entity, where goofiness and creativity thrive, and it’s what makes them one of Glasgow’s most exciting and lovable bands – even if they downplayed themselves at one point as “just four white guys”.


Sobriety get moody and murky on ‘Ronnie’s Song’

words fae liam menzies (@blnkclyr)

Having gigged away for the past year, brushing shoulders with some prominent bands in the Scottish DIY scene in the process, alt-rock outfit Sobriety are hitting out with their debut single and if Ronnie’s Song is any indication as to what the band are capable of, they’ve got an exciting future ahead of them.

While their approach to music would be enough to make them stand out from their up and coming contemporaries alone, shifting away from the pop/ indie rock sensibilities that are rife at the moment, there’s an emo vibe that radiates from this track which is certainly welcome: there are moments of immediacy for sure but Sobriety are more than capable of weaving a moody atmosphere, especially when they tell tales of narcotics and desire. It all culminates in a robust climax, the hazy vocals being overpowered by the backing instrumentals which take center stage. Right off the bat, Sobriety are aiming to be more than your usual rock band and with the potential on show here, it’s difficult to not see them achieving that.

Sobriety: Facebook 

Woes & The Future of Scottish Pop Punk

By Gregor Farquharson (@grgratlntc)

The uprising has begun. Gathering UK wide attention and supporting the biggest band in the scene, Woes are the front men for this new breed of Scottish pop-punk.

Before their massive opening spot on Neck Deep’s Peace and the Panic tour, I was sitting in a tour van, drinking cheap vodka with two of the members of Edinburgh band Woes. I sat down with the guys and we had a chat about all things pop-punk and where they fall into the grand scale of things.

The guys have achieved so much in the past year and have almost created a scene within the country. Their self titled EP has done wonders, and with latest single Losing Time circulating around fans of the genre, they are only set to rise.

With the new EP set to be released very soon (the band assure me) they are undoubtedly looking to progress further. Singer DJ speaks very openly about this, with an almost go big or go home attitude towards it.

“We can’t stay the same, we have to move forward. If we aren’t moving forward there is no point.  To pretend that anything other than a move up the ladder would be considered anything other than a disappointment, well that’s just a lie”

It’s no lie that the pop-punk scene in Scotland is rubbish. Yet, there are always packed out crowds of thousands of fans at gigs. What is the reason for this? Sean (bass, vocals) speaks on this, saying there is a lack of bands in the country, which leads onto a lack of competition. The lack of pop-punk bands in Scotland is shocking. Many fans wouldn’t even be able to name one band from the country, and this is a huge problem. The genre itself is something huge in Scotland, and a favourite of many fans of the alt-scene (myself included).

“Competition is never a bad thing, it means bands are always trying to be the best in the local scene, something I feel Scotland lacks”

But the future of our scene looks hopeful, especially with Woes leading the way. They talk about the future very positively, and see a bright future ahead. They hope for more bands, and more fans to jump on the bandwagon, and say all that is needed is a number one album from heavyweights Neck Deep to set the UK scene alight. With the band being the opener for the biggest band in the UK scene, it looks hopeful for Scotland as well and the atmosphere during the bands immense set in the O2 Academy was just proof.

The scene in general is at an ultimate high. Bands are playing the biggest shows they ever have. Lots of small bands are gaining fans all over the world and listens for the genre are through the roof. We are in what DJ described to us as a “resurgence” moment for the genre.

“We had the resurgence in 2006 with the likes of Four Year Strong and that’s when we picked up again. There was a small break but now we are at a good point. Bands like The Story So Far and Real Friends lead the way, even Neck Deep have played a huge role in re-popularising the genre”

When asked about how it was getting noticed, both members again had slightly differing opinions. The band have worked heavily with producer Seb Barlow (Neck Deep, Roam) and recorded their first EP with him. With him being the brother of the biggest name in UK Pop Punk, Ben Barlow (Neck Deep) it’s obviously been a huge helping for the band, as DJ explained.

“I feel if it wasn’t for us going down to England and working with Seb and getting his support and support from the Neck Deep guys, we wouldn’t be on this tour and wouldn’t be doing this well”

And with the band being from Scotland, we have already covered how rubbish the scene is up here. But can you really blame not being noticed on your location? Sean thinks not.

“We as a band have worked really fucking hard to be where we are. The time and effort we put in is unreal, and yeah we have received help and given unreal opportunities. But would we have gotten these by not working hard? Absolutely not, I believe that”

With the band on the Neck Deep tour and an EP round the corner they, truly doing great things for our amazing scene. They can capture a crowd and their unique live show is enough to grab the attention of any pop-punk fan. I mean, who doesn’t love a cover of All Star at a gig? Be sure to jump on the Woes band wagon early, you will 100% regret not in the future.

Album Review: MC Almond Milk – Full Day, Cool Times

By Liam Menzies (@blnkclyr)rating 9

The internet’s ability to impact emotions is well documented. In an age where we all have devices in our pockets with more power than the computer that got us to moon, it’s no surprise that this accessibility has had some sort of effect – the likes of Death Grips have expressed the sheer paranoia and anxiety the power big governments hold with this convenience while a host of other hip hop acts have dwelled in their own sadness, knowing that the sheer abundance of people means they can be transparent.

When MC Almond Milk steps to the plate, it’s evident that he encompasses both sides of the digital coin and it hasn’t sounded as good as it has on Full Day, Cool Times. The project of James E Scott, Full Day isn’t the young Scot’s first forray into hip-hop but is certainly feels the freshest out of the bunch: as opposed to the old school tidings of his earlier work, James has been up front about his admiration for the likes of Noah “40” Shebib, known for his work with Drake and The Weeknd, and it definitely shows. There’s an undeniable lavishness to all the tracks on display though, everything feeling pretty simple but melodic enough that there’s some depth instrumentally. 

It all ties into this “Feng Shui” mantra, one of a few eastern philosophies James drops during the LP, that allows the album to feel cohesive while never feeling too samey. While there’s that lavishness, there’s moments of lo-finess like on Yuptae Dollface which packs in some drab twangy guitars that radiate an Archy Marshall charm to them. 

Being a hip hop artist, MC Almond Milk’s words are just as, if not more, important than the beats he surrounds himself with and thankfully this aspect is just as strong. Being a sad internet white boy may be a cliche at this point but James’ work isn’t as 2D as that: 1995 is easily the most impressive track to appear and definitely reeks of Scottish nostalgia though anyone in their 20’s that is prone to reminiscing will find something to relate to. Its narrative progressing in five year intervals, there’s a sense of dread that escalates throughout as responsibilities and worries starts to loom, culminating in an overbearing synth while James self loathing finally bursts through.

This angst and inadequacy is preceded by the aforementioned Yuptae Dollface, a track that retains a bit of humour that helps the LP to not get lost in its own mindset like what happens with other artists: attempts at romance by comparing admiration to jeans and a line about beating a selfie generation with a stick keeps thing light-hearted while not making things tonally deaf.

As the chorus rears its head, James’ delivery goes from confident to hush, anxious whispers, comparing his life to a voyage which is enough to hit this misery point home without banging you over the head with it. Was Swept Away, I Think That Always Happens carries on with this misery on time passing by, all summated by a YouTube comment spoken throughout.

This nihilist viewpoint makes Full Day a pretty hard hitting listen especially for anyone who finds themselves in the same position. Me Irl is the most optimistic out of anything on this LP, finding happiness in making art and being himself though this is balanced out by some warped vocals reiterating James’ worries about “if he stops making music then I’ll die”. 

Pics Or It Didn’t Happen closes things off and finishes any chance of a happy ending though, like any good story, keeps things ambiguous: talking of self-care, the cross that James seems to have bared may not have disappeared but it’s starting to get easier to carry. “Open the door and welcome me in” is the last words we hear and whether this is some sort of belief in a higher power or taking care of ones self a step at a time, it’s the lyrical bow on top of a depressing yet beautiful piece of art.


Gig Review: Luna The Professor W/ The Roly Mo + Stop The Rain @ Audio

By Gregor Farquharson (@gregoratlantic)

The Glasgow music scene has undoubtedly proven itself to be one of the best in the UK. Producing some of the finest bands there is, such as Biffy Clyro and Twin Atlantic, there are always bands gigging in and around the city. It’s every band’s dream to sell out shows and have a loyal fanbase, and up and coming band from Wishaw Luna The Professor are no exception to this. Playing their first ever headline gig in the sold out Audio, and with support from two other up and coming local acts The Roly Mo and Stop The Rain, the night was not one to forget.


The Roly Mo were the band tasked with the challenge of starting the night and getting the crowd ready, undoubtedly a tough spot. The band played through their half hour set, and the fans seemed to enjoy them. Showcasing an indie rock vibe to their set, it was clear the band has just started up but with a few decent sounding riffs and loud drums, the band had all they needed to get the crowd roaring and ready.

The band let us know that the bassist was hit by a car last week, yet still managed to play tonight which is proof of the sheer dedication the act have. Playing what the punters wanted to hear, The Roly Mo did their job setting the atmosphere for the whole of the night.


The main support of the evening was brought to us in the form of Perth indie rockers Stop the Rain, who to everyone’s surprise sounded absolutely huge. The very well rehearsed live band have definitely put the practice in, and this shines through. The 5 piece used every second of their set wisely. The crowd were loving the band and the final song Home Is Where The Heart Is really shone through and thoroughly impressed everyone.

Little touches like the band’s masterclass in harmonies, not easy for any up and coming band, made the support act feel like a headliner in the making. The Perthshire band absolutely impressed with their set and will no doubt be playing shows like this with their names at the top of the bill.


Headliners Luna The Professor are absolutely no strangers to gigging in Glasgow, yet they have never managed to headline a gig in the city, merely supporting other bands, but tonight was their night. With a sea of local fans flooding the tiny Audio, and playing The Venga Boys to open the show, the atmosphere was absolutely buzzing. Opening with track Fall, from the get go the room belonged to them. The amazing production of this show added to the atmosphere, with lights which you’d expect at a much larger venue. We were then treated to performances of Advocate and Hometown, both of which new material and the latter being written about where the band is from Wishaw. Undoubtedly, the bands’ main track and a definite fan favourite Questions really set the room alight.

Frontman Johnny Irwin worked the crowd to perfection, with them all listening and doing as he said. The huge sit-down jump up moment of this song felt special and felt the band were doing all the right things to get a crowd up and ready for a party. The final two songs were a true example of how hard work can pay off. Closer Class A was a total sweat fest for the fans to enjoy – people on shoulders, mosh pits and bouncing, this debut headline had it all. The four piece band rocked the show, and if they can keep this high calibre of gigs and music quality up, the work will pay off and Luna The Professor will definitely move up in the Glasgow venue hierarchy. 



Track Review: The Vegan Leather – Eyes

By Liam Menzies (@blinkclyro)

During their set at this year’s baby-faced TRNSMT (spoiler: it was pretty good), Paisley art-pop outfit The Vegan Leather displayed an abundance of variety throughout their performance: there was Shake It, a single dropped earlier this year which was the catalyst for simultaneously singing, dancing and throwing drinks up into the air. Then they had This House, a track which does very much the same but in a whole other fashion – whereas the first example has brief moments of calm, This House keeps its energy throughout its running time and culminates in an outrageous bang of guitars, drums and toe-tapping synths.

With their new single Eyes, it’s apparent that The Vegan Leather haven’t lost their knack of crafting a dancy tune but they’re focused on doing so in a different way: front-man Gianluca Bernacchi’s comments have confirmed this, saying to Tenement TV that they wanted to go for something ‘very bright and dreamy’ with the accompanying video. Marie Collins is on prime singing duty this time round, we always got a taste of them with the band’s previous singles but this is the first to have her in spotlight, and boy are they a treat – gorgeous and alluring, they set the song up to be TVL’s take on a “slow” song but never judge a book by its cover, eh?

The song slowly but surely builds its way up to a beautiful climax: think Carrie with its an hour and a half wait for the big moment, except instead of pig’s blood it’s glitter, confetti and an all round eruptious finale. Eyes does a lot of what makes the group such a lovable group to begin with – the delicious rhythms and synths are candy for the ears. It’s what the track does differently that makes it a real standout, taking a different approach songwriting wise and ending up all the better for taking a risk with their formula. Another hit to add to their record so far: at this rate, their  eventual debut LP is gonna be audible ecstasy. 






EP Review: Atlas Run – Depths

By Liam Menzies (@blnkclyr

Burying their way into your skin without a moment’s hesitation with an infectious song is a feat many bands aspire to but very few manage to achieve. That’s not to say that acts who fail to do so are bad, more that the challenge of getting someone to put a song of yours on loop is increasingly more difficult in the digital age, especially when you’re a small act who have only recently just started having a stab at the whole “making music” thing.

So when first chucking Atlas Run‘s debut EP Depths on for a spin, you might find yourself happily surprised by how quickly you’ll find yourself listening to opening single Chasing The Storm on repeat – there’s that catchy pop appeal meshed with an indie rock sound not unlike something Foals would conduct on Total Life Forever, an album that bears an uncanny resemblance to that of Depths with its aquatic theme. The hook is simple and effective, allowing listeners both old and new to find themselves intrigued by twangy Scottish vocals followed up by some seductive, sonic guitars in the succeeding verses. It’s very much the track that any band would sell their soul to bash out at live shows and Atlas Run make a smart move by making this the first taste from the EP.

Starting off a record with your strongest track, whether it be an extended play or full length release, can be seen as shooting as yourself in the foot and while this may hold true even with Depths, it doesn’t mean that what comes after is sub-par by any stretch. Open Water faces the task of following up this catchy opening track and does a fairly solid job of it with synths packing this almost Hot Fuss-esque sound, making you wonder if the band had knicked a Nord Lead 2X from Brandon Flowers and co. The comparison between drinking and drowning isn’t inherently original but the way the sound submerges the listener gives it that extra layer, leading you to believe that the band are at the very least observant with their work.

Image may contain: 4 people, people standing and outdoor

Rose may initially fool you at first with what sounds like an acoustic ballad, a cliche too many acts are still falling into, but it eventually metamorphoses into this decent wee love song with some pounding backing instrumentals that help the band to regain the energy and force that make them nice to listen to. Then there’s In My Defence which is probably the closest the band comes to channelling an alt-rock sound with washed out guitars and an almost glitchy production providing a taste of something different though it never gets to spread its wings.

With all said and done, Atlas Run‘s challenge of standing out in a genre that is so popular, especially in the Scottish music scene, is certainly a gargantuan one. Even if it seems that they haven’t completed it perfectly, they sure as hell show the makings of a band who aren’t just following the footsteps of those before them – they’re just as ready to start their own path on the sand, no matter the difficulty.






Track Review: Sweet White – Celebrity

By Liam Menzies (@blnkclyr)

With its bass driven and glitzy synth intro, Celebrity by Sweet White welcomes its listeners with a soothing drive through an 80’s adorned landscape. The Peterhead boys have been undergoing a slow but steady evolution during their career, starting off with some intelligent and intricate rock tunes much in the same vein as Foals before dipping their toes into some poppy waters, a decision that has proved to be wise.

There’s no faltering on this latest track either. The aforementioned intro definitely sets the tone as frontman Jake Cordiner‘s vocals glide through the flashy L.A air, speaking of a woman who aspires to make it in Holywood. Talks of parties, materialism and longing for icon status channels the yuppie culture that was an epidemic at the time, further affirming its influence in that decade. The slick guitars and soothing electronics give an almost GTA: Vice City vibe to them, making it easy to imagine having this play through your car radio as you drive around the eponymous location. All of this manages to exemplify the creativity and style of Sweet White, an act that stands out as one of the most unique and, yes, best that Scotland has to offer.

Record labels, please, give this band an LP to work their magic on: you’d be doing yourselves and the Scottish music scene a favour.







By Liam Menzies (@blinkclyro)

Originally conducted in March 2017

Following up the massive success of their sophomore record Babes Never Die, Scottish rock duo Honeyblood are set to continue their ‘the bigger the better’ mantra with their largest UK tour to date. Performing at least five times in Scotland alone, not including their 6Music appearance, the band will kick-start it all off in Australia of all places, traveling via Asia before they start the UK leg in Ireland. We chatted to Stina Tweedale as she talked us through what it’s like to be in one of the best up and coming bands in the UK.

BLINKCLYRO: So you’re going to be performing in the 6music festival later this year: is it still a lot to take in being included amongst home-grown juggernauts like Belle and Sebastian?

Stina: Of course! It’s an absolute honour to fill in that slot since there are so many acts that they could have chosen from. 6Music have always been great for championing new music so it’s so nice to be asked and especially since it’s taking place in Glasgow.
BLINKCLYRO: Honeyblood has been around since 2012 which is quite a milestone: are there any plans to celebrate the fifth birthday?
Stina: Wow! I hadn’t even thought of that to be honest, five years my goodness. It’s almost been since our very first gig was in April though we probably won’t since we tend to just celebrate the anniversary for Cat’s first gig which is in September. We celebrated it about two years ago and got her some presents, embarrassed her a little bit!

BLINKCLYRO: Babes Never Die came out last year to a very warm reception, how are you feeling about it post release?

Stina: Good, it’s nice to have it out since we had been working on it for a year and then once it was all done we were kind of just sitting on it. It’s always nerve-wracking to release an album, especially when following up the first one I’d say so it’s a relief to see people are into it as much as they were our debut.

BLINKCLYRO: Is there a song in particular, either from the new album or your debut that you’re particularly proud of?
Stina: Off the last album definitely Babes as it’s very personal to myself and I’m glad that it’s been so well received. Cat (Drummer) and I both felt that Love Is A Disease is one off the album that really shows a real a shift in songwriting and demonstrates the band developing. For me, those are the ones that are notable achievements in our eyes.

BLINKCLYRO: Obviously both yourself and Cat are women in a female only duo, do you feel like festivals are doing enough to represent women in their line-ups or is it still an issue?

Stina: Yeah I think there’s been an improvement, especially since the band started back in 2012. We don’t really tend to present ourselves a female duo but it definitely is something that I’m aware of. I can only see the world through the eyes of a woman so all the issues and inequalities that are present in the music industry really do vex me.

BLINKCLYRO: Linking onto that, you’ve both performed at T in The Park prior to the festival announcing its cancellation for 2017, how are you feeling about that as well as TRNSMT replacing?
Stina: Yeah, we’re not playing TRNSMT as far as we know sadly and probably won’t be but TRNSMT is definitely something that needs to happen. It’s a natural evolution to T In The Park so it can only be a good thing!
BLINKCLYRO: You utilise social media very well: do you feel like this is a necessity nowadays with the age of the internet?
Stina: Yeah definitely! No matter who you are, even if you’re a band who don’t use social media at all, you’re still benefiting from the tools. People will hear about those acts for not using social media and they’ll find it unusual but it still gets them interested. It’s especially great for bands like ourselves, an indie label act to generate our business so we can talk to fans, venue organisers and what not.