After another great year of releases, the time has come to whittle down to the top ten of the year. With a plethora of music from bands internationally recognised and artists just building up in the national scene, it shows that anybody can produce an album with high quality that resonates with its listeners. With such great releases, honourable mentions go to Harmed (From Day One), Stand Atlantic (Skinny Dipping) and Against The Current (Past Lives) for just missing out on the top 10 list, but still produced high quality releases of the year. Make sure to check out the list and let us know your top 10 releases below!



Finding time to record an audio interview between Rebellion’s fire alarms spazzing out and other bands blasting audaciously loud music is a lot harder than I anticipated. After almost hitting a poor staff member with a door walking into the venue, the night was definitely starting off in a more unexpected sense.

In the rock scene, people are becoming more and more inspired to start projects of their own, spreading their thoughts and sharing their passions in their own time. Avenoir are a band created from an interesting experience – ‘we were bored’. Or, in (slightly) more serious terms – ‘me and the old guitarist were in the old band – Sammy being the fangirl was like ‘please let me jam’ so me, the guitarist and Sammy played, wrote a song and it all went well.’ so reiterated by the band’s drummer Jack Hendy. After the departure of previous guitarist George Space, ‘we were kind of panicking’, enlisting the help of friend Rob Arkle. We were expecting it to be Rob not really joining in at first trying not to step over our toes but you (rob) really got involved just went straight for it.’ Soon after, I discover this is perhaps the most serious the band will become for a large majority of the interview.

Filming a new video for their unreleased single, this music video finds Avenoir reaching a new depth of meaning in their music. ‘There’s a lot of themes of abuse and we won’t go into too much detail, but I guess this music video is a statement. We really are trying to break out now and show this can happen to anyone and to reach out.’ Commenting on his songwriting style, Sammy being the main lyricist explains ‘if there’s anything dark its either a story, character or something personal. I’ve never publicly said this before but Krakow- p is a very personal song for me. There’s a line that goes ‘I hope you know that you’ve been replaced’ and the drummers dad Chris is now a father figure to me.’ But even for such carefree people, there is a harsh reality behind the music you hear and see live ‘I always find it very hard as it brings up all those things very personal to me having to re-live them. By the 3rd or fourth gig you become kind of numb to it. That’s why Avenoir is a coping mechanism to me.’ However, in no way is Avenoir a painful experience for the band, if anything tis a sense of brotherhood – Metaphorically anyway. ‘So, you’re my brother’. Sammy’s quick realisation of the situation plays out into a very strange conversation of ‘Noncey incest. The incest noncest’ before claiming another band playing stole their track. A slight similarity, but debatable nonetheless.

Avenoir are rowdy, reckless and rebellious, not constantly taking themselves too seriously, nor necessarily needing to. As Sammy explains ‘I write my songs at 1am huffing nail polish. I then bring it to these guys who make it better’ and each member does bring a different stylistic feature to the band. Inspirations range, with Sammy’s being ‘Tracy Beaker’ and Rob’s being ‘Basil Brush’ (maybe Green Day too’, a clear divide is felt in musical influences. Who are the band really? Without trying to build an image, Jack brings across the idea that ‘we’re not trying to be edgy we just do what we wanna do.’, that is until Sammy blesses the band with the loving emo label – ‘We are pretty emo I am wearing tights.’ Even among more serious questions that rise through the interview, Brexit and censorship, the band each put a personal twist on answers. As Rob truthfully intervenes ‘Censorship that’s a proper big thing as well especially with our music. You’re writing a lot of honest music with a lot of cursing lots of good music is like filtered out. As for Sammy, his inclusion focuses on one simple importance – The 1975. It is possible that at the time we could have even formulated a drinking game every time Sammy spoke of The 1975 (well me anyway, with the trio being underage). Passions run deep for Sammy, ‘because of their irony and their image and everything about their whole statement, nobody gets them or understands them.’ One day someone will understand, just perhaps not the remaining three people sitting on a bench in a venue bang in the middle of Deansgate. Each to their own I suppose.

For such a young age, the group have come pretty far, but it’s also where perhaps the slight prejudice of younger bands is exposed. This is a factor even frontman Sammy is aware of. ‘I think people take us seriously when they’ve heard us and meet us. If they don’t know us and find out were 17, people put a label on us being childish and having a long way to go. I think that’s why we don’t get hired a lot and have the reputation of young kids.’ Joking aside, the group have a high level of maturity and awareness of the scene around them. An idea many people, myself included, can relate to. Even Jack stating that ‘some people don’t treat you differently, but if before they know you’re 17, they just won’t take you seriously. The fact is we know each other as musicians and we know how we play so that really helps us as musicians. I think the older we get the stronger we will become’ Of course being the band they are, it doesn’t take long before the opposing comments come through – ‘Then again, we don’t take ourselves seriously.’ Bands are often quick to defend their serious approach to music, but sometimes it can be a breath of fresh air to be able to joke around a bit. Who would have guessed talking to a small student aged band would be the most laid back, banter filled interview I’ve done?

There is a more important issue on the line that is soon to arise in our 30-minute interview. As Rob states ‘I think the worst thing is jacks poor navigation skills.’ Obviously causing issues, both Rob and Sammy comment on being ten minutes late’ to a show as ‘you took us on a 40-minute detour to the motorway’, which Sammy claims ‘could have taken 5 minutes if I did it’. The culprits issue? ‘You check snapchat when you’re supposed to be the navigator! Undoubtably, the band have their occasional disagreements, the latest occurring during video filming, a day before this interview took place. The most outrageous cause being Jack causing Sammy to be ‘late for my bus’. In the true narration of the day ‘We were arguing while rob was crying in a corner. It was awkward for the Filmer.’ A message to director/cinematographer Declan, Jack and Sammy are very sorry. With the true cure for disagreements being a McDonalds, in the end, there’s always a resolution. As Sammy states ‘usually it’s me and jack that argue about things but you’re (Rob) never afraid to tell one of us when were wrong.

Avenoir are a band that definitely surprised me. Writing reviews of their music since their debut single last year, the band have developed musically in an upwards approach. Even live, the trio give off a tremendous amount of energy, a stage performance some more established bands could learn from. Perhaps only just breaking into Manchester, Avenoir are yet to capture the attention of the rest of the UK but trust us when we say this – they won’t stop trying.


As It Is are lined up to play their biggest Manchester show to date – headlining the O2 Ritz. Moving from a pop-punk happiness to a much darker ’emo’ style, it’s safe to say a happy-go-lucky bubblegum pop atmosphere was not to be achieved.
While the band have been around for years, Canadian synth-rock Courage My Love (6.5) supporting large shows on the scale of the Ritz isn’t their forte yet. First on, the struggled to form a connection with a crowd of unresponsive attendees and despite Mercedes’s beautiful vocals and attempts, little could be done to capture a crowd. Through no fault of their own, perhaps it was just a tough crowd. The trio are excellent performers, aside from a slight sound issue causing the bass to smother the guitars, they are indeed a very tight band musically. Unfortunately, this just wasn’t their night.
Don’t be surprised when we say Holding Absence (9) are one of the bands on the cusp of breaking out in 2019. Already building a reputation in the scene, the quintet embodied a heavier side of music fans were perhaps not expecting. Instantaneous energy and brilliant stage presence, there was no holding back even in slower tracks ‘Everything’. Musicality was on point as well as stage presence and audience connectivity. If one point was to be made, perhaps more on-stage connection between band members, but otherwise this is a band you will hear a lot about soon.
Finally, after embarking on their first UK tour by As It Is in 2015, Trash Boat (7.5) return as supports once again. Generating the largest crowd of fans in the audience, the participation and enjoyment from crowdsurfing fanatics and mosh pit enthusiasts was through the roof. Yet, the bands performance seemed to lack. After witnessing the performance previous runners Holding Absence gave, there was a lacking stage atmosphere. Undoubtedly, the outfit were strong musically, but there was little to make them stand out, little to push them out to those unaware of who they were. An improvement they can work on.
Edinburgh’s show turned out to be quite the disaster. Sets being cut short and violent security, As It Is (9) we’re clearly unamused by the events of the previous night. Yet, with a day off before Manchester, the band had recouped to give it their all for this show, notably the biggest performance to date in Manchester.
Building a bridge with an audience is fundamental for any live show, and such levels of doing so can easily be seen. Patrick Foley on drums, we will give a pass to. Spending a good half of the show hidden behind a smoke screen (despite a higher platform) its also not easy to give much interaction from so far at the back. What can be said however, is that it can be rather embarrassing when your touring guitarist Ronnie interacts more with the audience than some of the others. Older tracks dug out from the discography ‘No Way Out’ and ‘Can’t Save Myself’ saw lead vocalist Patty Walters moving across the stage singing to front. Yet, it did feel connectivity from bassist Ali Testo lacked majorly in comparison. Granted, it is hard to multitask with instruments and backing vocals, but if guitar/vocalist Ben Langford-Biss can do it, what is the excuse?
Harshness aside, an onstage connection between the band could be felt. It’s clear these tracks mean a lot to the group. One of the more emotional connections came mid-way through a the set, slowing down the pace with ‘The Question, The Answer’ and ‘Still Remembering’. Looking in-depth it is almost as if there is a small shift in the emotion of Walters, between gaps going up to fellow band mates mouthing the words ‘I fucking love you’. To see songs played so much still striking deep in the performers is a sight that is heart-warming, as well as showing the depth the band encapsulate in music. A song, perhaps unexpected in the set was ‘The Great Depression’s’ closing track ‘The End’. As a conceptual stage show, voiceovers and formulated colour schemes added to the atmospheric feel. As It Is had an idea for this stage show, but at time almost felt like they were holding back. Going full out could really skyrocket this show, perhaps a thought for their upcoming American show. Aside from a slight timing issue on the spoken word bridge of the closing track, a clever way to end the show.
But it’s the performance in the encore of previous and new singles saw energy ramp up ten-fold, something incredible from a band already giving a high percentage of their energy in the show. Ending on ‘Dial Tones’, ‘The Wounded World’ and ‘The Stigma (Boys Don’t Cry) pushed a strong end to the show. This group know how to structure a set. Even to the last minute all was given, with ‘The Stigma’ perhaps gaining the largest reaction of fans.
As It Is are pushing an important message in their music. To see a room of 1000+ people of all ages singing back such meaningful lyrics and embracing who they are is a beautiful sight. Such connections in the scene may be depleting but shows like this prove that there are still sparks in the darkness.


How many bands have you heard of from Stoke-On-Trent? The answer is probably few. This is about to change. Divenire are setting themselves a platform, releasing their debut EP ‘Wonderland’ to an audience of new listeners. Presenting themselves as ‘Goosebump inducing, emotionally powerful indie rock’, how far do the 4-piece live up to this expectation?
As far as emotional conveyance in the EP, ‘Captain of The Sea’ is an immensely strong contender. Storytelling is a side to Divenire merely scratched upon in single ‘Caravan’, but never truly delved into now. Weaving ambient guitars with echoic waves of backing vocals, the heart-wrenching story of a man and his fatal love and longing for the sea comes to life. Yet, if one issue is to be pointed out with the release, it is with the sound of the tracks. The depth is somewhat lost by the track’s compression, losing some of the layering. ‘S.I.A.R’ showing this issue the most and while not a major issue, is something to learn from.
Simplicity is a factor found in the EP, with ‘Old Oak Tree’ presenting what on the outside looks to be a simple backing. Simple drum patterns with repeating guitar leads graze the tracks outer layers. Yet, blend these separate components together and the track almost gives off an ambiance of colour. A talent emerging through this EP is the bands ability to balance simplicity and complexity. Presenting this in a way that doesn’t form a neutral middle-ground, but instead juxtaposes one another through each track. Take ‘Mercy’, a slow-burn bonus track with an opening simplicity, emerging into a layered, complex track in its prime. Like most tracks, the soft tones veiled in the undertones of the EP build the atmosphere around Wonderland release. Surrounded in what should be aura of sadness, the EP’s title track still offers an upbeat musical style in its chorus. But still adding a sub-conscious sadness in its depth.
Divenire have produced their own ‘Wonderland’ of storytelling, emotion and truth. There are improvements , but there are for any release. A relaxing listen with substance there should you wish to find it.
Rating: 9/10


Brash, boisterous and bold. Avenoir (8.5) are not top of the list, or the most popular by any means. Hailing from Leeds, the melodic grunge trio are pushing boundaries to create wider audiences – starting with Manchester.
Thirty minutes, seven songs to capture an audience.
Despite being new to the Manchester scene, Avenoir stirred up an atmosphere instantly. With opener ‘Tadpole’, the trio melded together all the energy provided from previous frontrunners and exceeded it. Easier for a three piece? Perhaps, but for such a new band, this level of performance is definitely an impressive feat. As for musicality, aside from the occasional mis-timings, or flat notes, the band were tight. Even through unreleased single ‘Orpheus and Eurydice’, a high level of inter-band connection and timing was great. Yet, instrumental performance aside, ‘Krakow-P- presented the bands ability to transfer emotion from recordings to live. Whether this emotion is through playing or stage presence, the outfit are rather enjoyable to watch. Wrapping up with debut single ‘Leviathan’, the group packed the last reckless hit of their set. Even though the vocal harmonies may have been off at times, a development in sound always takes work. After 30 minutes energy is still at a high and infact leaves quite a memorable set.
Avenoir may not have had a huge audience, but they played to their best either way. For a band so young and new to the scene, perhaps other bands should look to these guys for live inspiration. Young, loud and reckless, maybe these guys could be next on your radar.


Political and social commentary is a rising theme in underground music. Dirty Sound Magnet have been brewing on this idea for years, especially in their 2017 album release ‘Western Lies’. However, a new era is coming for DSM, a fall into the world of their new single: ‘Social Media Boy’.
Combining a retro 70’s style with an easily recognizable sound, DSM know exactly where they’re heading with their new track. Flowing down a similar route to the style of previous 2017 album ‘Western Lies’, ‘Social Media Boy’ follows a similar standard. Despite mirroring previous tracks, there is still a distinguishable difference between this and previous releases. Exploring the diversity of their sound is always a fun task, as the range of each track varies so much. Similar lyrical themes, still portrayed in a new, intriguing way each time. ‘So many birthday wishes make you feel loved’ proves a sense of fragility and obsession in today’s society. Another example of DSM’s bluntly direct lyricism? Yes. Another aspect that heightens the trios music? Definitely.
As a glimpse of the music we are yet to hear, ‘Social Media Boy’ is another excellent single release from the group. Strength grows with experience. With the experience the band already have, they are definitely getting stronger.
Rating: 8/10   


Architects have torn themselves down to the raw bones of their sound and rebuilt. After the tragedy Tom Searle’s (guitar) passing in 2016, it lead to questions on whether the band would ever be able to reconvene. Yet, with the joining of Josh Middleton on guitar, Architects have stepped up once again to release their eighth studio album ‘Holy Hell’
In an album, when you can feel a persons pain penetrating deeper than the intricate structure of a song, you know you are looking at more than a simple album. ‘Death Is Not Defeat’, brings about a mantra exposed to its bare roots in the records opening number. While this track encompasses a more dramatic, slower opening, in no way is this track one to leave out. From a musical perspective, the layering of this track (and album) is intricate and intriguing. With the clever heartbeat drum pattern to the hidden guitar riffs, these features help add a subconscious hidden depth. Topped with Sam Carters raw, cutting anguished vocals, this track is one of the many clever ideas Architects throw into the mix. Even single ‘Royal Beggars’ brings a diverse change to the albums nature. Dominated by deep basslines and a slower atmospheric approach, you can see the band are pushing the boundaries of their music. Carter’s lighter cleans add an ethereal tone to the track, bringing an extra kick of emotion to the curb of the tracks ultimate build-up. Architects want you to feel. To experience the pain they are writing. Listening in a full depth, the bridge’s melancholic lyricism, ‘We have totally lost our way’, offers both an emotional outpouring and a bridging connection to the albums listeners
Yet, to long-time listeners, its a common factor for the band to bring a theme of preordained doom to their tracks. ‘Modern Misery’s’ focus on the demise of humanity plagues the lyricism of the track, forcing the track into a black hole of raw vulnerability. Even varying in themes, the nods to Tom with ‘I will go to the grave with a song still in me’ still reign ever-present. Even title-track ‘Holy Hell’s’ downbeat, gloom-ridden riffs mixed with the orchestra style strings settle as a foundation to lift the track. The full flowing impact of mortality intertwined with the theme of mourning only makes this release more heartbreaking, truthful and inspiring,
Every track has something to offer. ‘Mortal After All’ and ‘A Wasted Hymn’ bring no hesitation to throwing the truthful punches of the album at full force. Lyricism still being a strong factor, ‘A Wasted Hymn’s’ slow building bridge centres around one line – ‘Can you live a life worth dying for’. Impacting lyrics are a strength of Architects work, providing an extra layer of depth in the song. But don’t let this depth fool you. ‘Holy Hell’ is still one hell of a metal record. ‘The Seventh Circle’ projects the bands heaviest riffs and sound, with Carter’s harsh barbed-wire vocals and heavy musicality melting together in some kind of incandescent fury.
With the tragedy of 2016, it was a surprise to many that Architects recouped so soon. It would be no surprise if many gave a pass to this album, due to the pain the band have endured over the previous two years. Yet, a pass of sympathy is one not given to ‘Holy Hell’. Instead, this album is everything expected and more. As a progression from predecessor ‘All Our Gods Have Abandoned Us‘, Architects prove themselves as a well polished band. ‘Holy Hell’ is deserving of its place – and is possibly one of the greatest pieces of work Architects have ever showcased.
Rating: 9.5/10



Just About Done are far from finished. With the Aussie pop-punk band recently releasing their second EP ‘I Am Getting By’, the quintet have a new plan to send out their stylistic ideas. Now they are here to give you a deeper insight into the creation of the 3 inter-linked video singles.

So with another release in the world, how can the band ensure it stands out? “We knew that we wanted to do something a bit different for our release and thought that having 3 videos as a continuous narrative would be the way to do that” Yet, with a release not linked in track continuity, pulling out all the stops is a step that had to be taken. “At first, we were trying to figure out a way that we can order the tracks. This was not easy, considering the lyrics weren’t written about one chronological story.  One of our band members expressed how his personal experiences related to the song lyrics, so we made a rough outline of what each video concept would be about. The track listing was chosen based on the story line sequence.”

Directing their videos with Mind Society Studios, its with the help of the creative directors that expanded on the groups ideas and themes. “They were so creative and started drawing up a storyboard straight away, throwing out different ideas and additions to the story. After giving them our main idea, we left it in their hands to fill in the blanks way better than what we were capable of.” Even with help, the band still left their mark on the content filming in both personal locations and places that gave them a whole new definition of experience. With the hospital scenes shot at The Royal Melbourne Hospital in Parkville, the house scenes filmed at Jack (Guitar) and Joe’s (Bass) house and the skate park scenes were at Taylors Hill skate park the settings clearly vary, leaving room for all sorts of story developments and memorable stories. “The hospital was so much fun to shoot at. It is no longer in use, except for filming and ghost tours! There were random files lying around, locked rooms with old furniture and things that had been left behind. A few doorways that we were hesitant to open. There was also a wheelchair floating around which John (the man who played the father figure) taught us how to do mono’s/wheelies, so that was fun. We are so happy with the final outcome. The amount of detail going of the filming, and even how they have managed to get certain moments to happen in time with the music. It’s all very impressive and emotional, to have our name be attached to this is a very proud moment for us, and we hope others can get something out of it too.”


Bring Me The Horizon were a band nobody took seriously, possibly until the release of legendary breakthrough record ‘Sempiternal’ (2013). Even to this day it is currently debated as to whether they can be classed as a ‘proper band’, or simply a joke within the metalcore scene (especially regarding their newest albums). Back in 2008, September 29th to be specific, Bring Me The Horizon released the album that would help them bridge the gap in their style and rise up the ladder to become better known and one day respected in the metal scene: ‘Suicide Season’.

Seen as a slightly vulgar and repulsive title and artwork, this possibly embodies what the band were after, they didn’t want something that would saturate an already oversaturated rock market, as proven by previous releases. Instead, it appears they longed something that was serious, but still them as they perceived themselves, something that defined them. Receiving both critical appraise and dislike, the group were praised for their instrumental upkeep and development but harshly criticised for “cheap” (Ryan Williams, Thrash Hits) lyricism and shouting vocals opposed to the range Sykes presented in predecessor ‘Count Your Blessings’. Stepping up their professionalism, the group travelled to the lonely Swedish village of Arboga, away from the bustling streets of Birmingham where they previously recorded. However, an unshakable negatively skewed perception meant even producer Fredrik Nordstrom had his pre-perceived doubts from CYB leaving the group mainly to their own devices, but was then initially shocked by the music they had recorded halfway through the SS process. Perhaps this is where the change truly began for the band as they alone created a record they wished to release. With a more positive response, the group also went on to devise ‘Suicide Season: Cut Up’, a variation of remixes of the original tracks for a more electronic feel.

Truly the album is questionable at times, ‘The Football Season Is Over’ is… well the embodiment of the young ‘adults’ the then 5-piece line-up once were (as well as including an interesting feature from JJ Peters of Deez Nuts). The lyricism of the band is also… questionable at times to say the least. Infamously, Sykes beautifully exploits a sample of such in ‘No Need for Introductions, I’ve Heard About Girls Like You on The Back of Toilet Doors’. ‘After everything you put me through, I should have fucking pissed on you’ – the truthful, beautifully poetic lyricism from frontman Oli Sykes that, to this day remains a reminder of just why the band moved on and improved (thankfully for the better). Yet, through this time trouble was never stray, from on-stage fights to lawsuits, there was the potential such negative press could launch the outfit further than their albums ever could. A negative effect on the band meant even less respect was paid to them, a refusal for acceptance and indiscriminate judgement still present to this day.

In total, three single releases were pulled out from this release: ‘Diamonds Aren’t Forever’, ‘The Sadness Will Never End (Featuring Sam Carter of Architects)’ and most recognisable single ‘Chelsea Smile’. ‘Diamonds Aren’t Forever’ is the dusty forgotten track from the trio, a track once good in its prime but one that inevitably fades into the rest of the album. Alternatively, ‘Chelsea Smile’ resonated so well with fans and the band, that the single is the oldest track the band will play live, even skipping tracks from ‘There Is A Hell’. With an intrepid breakdown and emotionally resonating bridge, it’s completely understandable why the melodic evolution of this track still stands so strong amongst fans and the band themselves. Once again, ‘The Sadness Will Never End’ features the same powerfully impassioned lyrics intertwined in Sam Carters clean vocal style showing Bring Me had the potential bubbling away, but were perhaps held back by alcohol, drugs and further personal issues, later to be admitted to the public.

The albums title track however, is possibly one of the most underrated tracks in all Bring Me The Horizon’s discography. An intensely raw lyricism intertwined with vulnerability and truths is what makes this undoubtably the most beautiful track on the record. Both heavy and ballad-like, it is here we see the heartfelt instrumentals pave a way through the track, a feature that becomes predominant in the groups following release ‘There Is A Hell, Believe Me I’ve Seen It, There Is A Heaven, Lets Keep It A Secret’. ‘If only sorrow could build a staircase, our tears could show the way’, a desolate, melancholic line that proves there is a sense of seriousness to the group. Shown in its entirety then – perhaps now, but now is ever present (at least most of the time).

Here’s the verdict, is ‘Suicide Season’ Bring Me’s best album? Not even close. However, it’s a part of their transition, an important timeframe of their development to becoming the more polished, professional (well… still questionable) and the ‘no fucks given’ band they are today. Look at the group now and they’re almost unrecognisable from who they were ten years ago, but this album is still an important part of their history that shouldn’t be forgotten.


Halloween is upon us and with it comes As It Is’ spectacular horrifying video for ‘The Reaper’ (Featuring Aaron Gillespie).

Directed by Zak Pinchin, the creepy melancholic atmosphere of the story and cinematography not only brings the track to life, but also brings a great twist to Halloween this evening. Speaking of the video, Ben Langford-Biss says, “The Reaper is the moment in the record’s narrative where The Poet becomes so desensitised to the concept of death, that death appears and manifests before him, offering an “escape”- not in a malicious way, but as a means of release from the pain The Poet is feeling. It was one of the most crucial and challenging moments in the narrative, and it was the last one that came together – lyrically and musically. 

To confer these themes of turmoil and conflict, the sort of inner claustrophobia The Poet is experiencing, we wanted the video to be gritty and dark. We ended up taking visual influence from some of our favourite horror movies and TV series, and our director Zak Pinchin really clicked with what we were trying to get across. 

The video shows each of us waking up trapped in rooms, each room representing one of the four stages of grief that the record is chaptered into; denial, anger, bargaining & acceptance. Each of us faces off with death in some respect, whether that be in a literal or metaphysical sense, and there is an external antagonist controlling the events in the rooms – forcing us to face our fears, our grief, or even ourselves.  We were super excited that Aaron Gillespie was able to be a part of the video, to play the part of this puppeteer / antagonist! 

Both the song and the video are so different to anything we’ve done before, and we’re so fortunate that our fans have embraced the darker and heavier side of our band & our constant desire to progress in new directions. And we just cannot wait to finally bring this album to life on stage when we finally start touring The Great Depression era this week: first in Japan, and then in Europe and UK  (which culminates in our biggest headline show to date at the London Forum on December 1), and then we’ll be returning to the US in early 2019 for our first time since Warped Tour! There’s so much more to come from this chapter of our band, we are only just getting started

As if the bands US tour announcement wasn’t enough! Check out the new video and tour dates below!