BIG SPECIAL: “The unique characteristics of many cities across the UK are diminishing, giving way to the norms of the capital.”

"We're rapidly realizing that while you can indulge in delights, it might still lead to discomfort."

— Callum Moloney The album feels incredibly honest and immediate. You’ve described it as examining “stages of reflection on an average life as it moves further away.” Do you feel this loss of “an average life” since the release of ‘POSTINDUSTRIAL HOMETOWN BLUES’? If so, how have you dealt with it? It's certainly been oddly isolating. It's enjoyable and quite validating, but also very lonely. Our experience has narrowed significantly: van, airport, venue, hotel, repeat; missing birthdays, weddings, and funerals because of touring. [We’ve been] literally observing the passage of normal life from the sidelines. The ones who understand best are fellow musicians and artists, yet you hardly see them since they're on their own travels. Additionally, it can make you appear ungrateful for complaining while “living the dream” to family and friends, who you've spent over 30 years inviting to gigs and pleading to listen to your music... Clearly, we’re thrilled to have left our old jobs behind and to focus on something we deeply care about, which 99.99% of people don’t have the opportunity to do… But yeah, I’m not sure. We’re still adjusting and quickly realizing that while you can indulge in pleasures, it may still lead to discomfort. Could you elaborate on the album's creation; was there a specific track that ‘unlocked’ ‘NATIONAL AVERAGE.’ for you, or helped clarify its theme? It emerged from a series of improvised sessions. This is our favorite way to create music - without boundaries or rules, simply setting up all the microphones in a room and playing instruments. We record everything that comes out, then sift through the material to cut out little riffs and samples. Occasionally, a 30-minute jam might yield only a three-second sample, but we remain receptive to everything we discover. From that, we develop structures for fuller songs and add lyrics, which Joe typically works on simultaneously, piecing together what he's written while on the road or what comes directly from his mind. Ultimately, we wrote around 25 songs for this album but narrowed it down to the 13 we’ve released. The last song we wrote was ‘GOD SAVE THE PONY.’, which felt like the missing piece; lyrically and contextually, it completed our track list. The album's closing track, ‘THIN HORSES.’, features your first collaboration, Slowdive’s Rachel Goswell. Why did you decide to introduce another voice at this point? How does Rachel’s presence on the track alter its mood or message? We adore Rach. We’ve known her for years, and she’s been a tremendous support during the transformations in our band and lives. When we composed ‘THIN HORSES.’, we realized early that it would serve as our album closer and the emotional high point. It’s probably one of the softest and most sincere songs we’ve ever created. It felt instinctive to add a second voice to enhance the weight of each lyric as the song progresses, and we wanted someone who could embody the song's delicate vulnerability. Rach was the perfect fit - we asked her, and she was enthusiastic about it. What are you most excited about regarding ‘NATIONAL AVERAGE.’ being released? Is there a song you think will resonate particularly well with people? Or is there something about the album that might surprise fans? We’re curious to see what resonates most with people, honestly! With this surprise release strategy, we have no idea what to anticipate. There are several distinct sonic directions on this album for us - like ‘JUDAS SONG.’ or ‘THE BEAST.’ - and it will be interesting to see how the fans respond. We just hope it connects with those who enjoyed our first album, as well as new fans, and that they’ll continue this wild journey alongside us.