Back in February, when their first single of 2025, “Make It Sound French,” was about to drop, Post-Burnout spoke with guitarist Joshua Camacho-Clowes, bassist Max Ellis, and drummer Rory Mapes of the Bristol post-rock project Last Hyena about their formation, their upcoming EP, adding vocals to their sound, line-up changes, the Bristol music scene, and much more.

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To start with the obvious first question, which is a little bit about the background of the band, considering how, when you listen to your music, how versatile but also specific it is – if that makes sense – I was wondering how you guys came together and formed this project?

Max: So, we met at university. We went to the University of Falmouth, down in Cornwall.

Joshua: How long ago now?

Max: How long ago? I don’t want to say! [All laugh] Was it ten years?

Joshua: Twelve years.

Max: Twelve years ago, yeah. We all had quite different musical backgrounds, didn’t we? [To Joshua] You were kind of jazz-based, weren’t you?

Joshua: Jazz and funk.

Max: Yeah, jazz and funk. I’d done a bit of jazz and funk, and then a bit of rock stuff. Rory, you done a bit of like…?

Rory: A bit hardcore-esque.

Max: A bit of hardcore. A bit of indie in there. So, I think our sound just comes from an amalgamation of lots of different influences, I think.

Rory: The project started…we were in a former band, and it was kind of coming to a bit of an end, naturally. The singer left the band, and we were like, “OK, well we want to carry on playing,” so we started writing music with the idea that a singer was coming in. So, the first song we wrote…[To the others] I think it was “Savannah,” was it?

Max: Um.

Joshua: Yeah. “Savannah,” yeah.

Rory: The idea was that we were going to have vocals behind it, but then, suddenly, we just had the freedom to be the idiots that we are. We were like, “Do we need vocals in it?” Yeah, it’s just gone from there, really.

Did you find that when you didn’t add vocals, there was more freedom to the music, in the sense that each listener gets to have their own interpretation of what the song’s about?

Joshua:  I’d say so, yeah. I think, with a vocalist… – it depends on the vocalist – …but, when you say to a vocalist, “Oh, we’re in 5/8 here,” or are doing some interesting time signatures, they’re like, “I don’t know what that means, and I’m off!” Not saying that of most vocalists, but the vocalist we had at the time was just like, “No! I just can’t…[End of sentence got drowned out].” So, I think having that ability to [say], “Actually, we can do what we want and we can create our own melodies, as whacky as they are,” and, like you said, people do take their own interpretations of what the music really means.

Max: Yeah, for sure. And, also, like, naming the songs, too; we can come up with these really creative names and, sometimes, I guess, the name relates to the meaning that whoever came up with the name has for the song. Sometimes it is just, “That sounds cool!”

Well, do you ever find that naming a song sort of imposes a meaning onto it?

Max: Yes! A hundred per cent! A hundred per cent!

Rory: ‘Cause we have, I guess, a bit of a weirder writing style in this non-selfish aspect, that we’ve always been like, “No one ever comes to the studio with an idea.” Like, we just don’t have, like, a predetermined…So, Josh will typically play some kind of riff and we’re like, “That’s brilliant!”, and then we’ll pull it apart and then just build this whole song. Recently, we’ve been writing the song names and then being like, “Right, so, let’s write a song around that name and see what we can build around that.”

Your first record, How Soon Is Mars?, came out about…geez, almost four years ago now, I guess! How did you find writing for that album compared to writing for your new stuff? How was the process different, or was it different?

Joshua: Yeah, we had another bass player at the time that we were working with. So, Max here actually rejoined the band last year, after our previous…also called Max!

Max: A couple of years ago!

Joshua: A couple of years ago, yeah! The other Max, he was very much a proper traditional jazz player – like prog jazz kind of stuff – so, working with him was quite difficult. It was kind of like drawing blood from a stone with him a lot of the time. He’d come into rehearsal, and me and Rory’s whole writing style is, “In a room together. See what comes out, naturally,” and we kind of lost that for a little while when Max was doing his thing.

Max: Um. I think on the album…like, what? Like, three of the tracks I’d written with you guys, and then you wrote the rest with New Max? So, I guess it was a bit of a mixture, in terms of how you approached…

Rory: Yeah, in terms of the process for that album, I guess it’s very different to how we’ve written this EP, in a sense. We’ve always written for ourselves and we’re lucky enough that people…

Max: Like it. [Laughs]

Rory: …for some reason, enjoy it! We’d never set this predetermined thing of, “Let’s be like this band;” we just write and that’s the sound. We’re in the studio today and we’re writing a song, titled “Susan’s So Random,” [Joshua laughs] and it just doesn’t make sense, compared to some of our other stuff, but it’s just the natural progression of Last Hyena and where we’re going, and we’re fine with it, always, that whatever comes out, comes out.

Max: Yeah. Plus, we like it.

Joshua: Yeah, exactly.

It’s cool that you guys write together, because, obviously, for the dynamic of the band, everyone’s part is so critical to the overall piece. This isn’t a project where, for example, one person could go away and write something and then bring it in, or is it? Or is it just improvising when you guys are together, and then just pulling at the thread that you guys find?

Max: It’s a bit of both, I think, because sometimes Josh will write a guitar piece at home and then send it to the group.

Joshua: Well, what typically happens is, we write something as a group together, and…I like chords. I like to just rip apart the chords and put them back together. So, we’ll have the base of something from a first jam session, and I’ll go home and just turn all the chords on their heads. It will still work in the sense of what Max and Rory have written, but now my part’s a lot more harmonically structured…

Max: “Refined,” maybe?

Joshua: “Refined,” yeah. [Nods]

Rory: It’s also just quite a safe writing space, do you know what I mean? There’s never any animosity, no “wrongs” or “rights;” it’s always like if all three of us like that part we’ve written then it’s a go-ahead. If one person’s like, “D’you know what? I’m not sure about…”, we’re like, “Fine. We’ll scrap it.” We’ve literally written entire songs and then turned up to play them and said, “Nah. Didn’t work!” [All laugh]

Max: Yeah, and none of us are going to get emotional if the other two don’t like a particular part you’ve written; that’s just water off a duck’s back at this point.

Joshua: Yeah, and you only get that with people you’ve worked with for years!

Max: [Laughs] Yeah, yeah! Exactly!

Yeah, that’s a good point, actually, because, obviously, when you’re working with people that you’re familiar with, that you’re friends with, and that you’re comfortable with, that, obviously, makes the process so different. You were mentioning there that you had a different bassist for a while, and I was wondering, how did that dynamic change the songs themselves? Because I think the average listener, who isn’t a musician themself, there’s probably an apparent change when there’s a vocalist change, but I think change to the instrumentation can be subtle but very impactful, especially for the type of music you guys are doing because everyone has their own, different style, and that’s not even accounting for different equipment, pedals, […] the technical side. So, how do you find the dynamic works when it’s the three of youse compared to when there’s a different member?

Joshua: Well, when it’s us three, stuff just falls out of us. We don’t really feel like we have to…

Rory: That’s just ‘cause you’re getting old. [All laugh]

Joshua: That’s also true! I’m getting old! But it never feels forced, when we’re trying to write. It never feels like I’m having to push any of the other two to come up with something; we just come up with stuff. With the previous bass player, he was actually a really good friend of ours for a while…

Max: Good bass player, as well.

Joshua: Yeah, he’s, honestly, a phenomenal bass player. He’s one of those guys who deps in for, like, wedding bands and can just play any song off the top of his head. One of those incredible ears. But, when it came to songwriting, it was very difficult to get him to go along with the flow.

Max: You were mentioning equipment and stuff, we do have different…[To the others] He used flatwounds on the album, right?

Joshua: Yeah. He had the same strings for ten years.

Max: Yeah, exactly. He’s one of those bassists who never changes his strings, whereas I change my strings every week. I like them sharp, twangy. I like crunch. I’ve got a StingRay, so it’s active, it’s punchy. Tone-wise, it couldn’t be any different, I don’t think.

Joshua: No. He was playing a P-Bass, as well, so we all know how those sound.

Max: Old school, yeah.

Rory: I think, as well, there’s probably the ideology of what Last Hyena is and why we started, do you know what I mean? In the sense that, Max started the band with us and we had a really clear cut kind of direction of what we wanted. Then, when Max came back, in the studio, we literally wrote a whole song called “Suspect Your Elders” – which is on the EP – in a day.

Max: As in, like, two hours!

Rory: Yeah, you’ve never seen anything like it! We were like, “Wow, that’s incredible!” The tonality, the vibe, that heavier element that we like to push into, as well, came back.

Max: Yeah, we’re even heavier than when I was in the band, previously. It’s kind of gone just a bit heavier, in general.

Joshua: Like, before How Soon Is Mars?, the previous EPs, they were actually very clean.

Max: Guitar-wise.

Joshua: I didn’t even have a distortion until two years into this! [All laugh] I had delays and reverbs, and that’s all I had. Now, I have my board covered in drives, all over. [To Max] The same with yours. Covered in drives.

Rory: We just keep turning them up when you’re not looking! [All laugh]

Do you think the sound of the band alters with the more equipment you get?

Max: Yeah.

Joshua: Well, I’m actually going through a declutter phase at the moment, because I’d just gotten to the point where, with my pedalboard, I had five power cables coming off the board, all powering different pedals, and then, when we’re actually playing live, that’s when things go wrong. The more stuff you have on your board, the easier it is for it to go wrong, so I’ve actually just started stripping it away, and, actually, what I’m left with now is just some drives, some delay and some modulation effects, and it feels great because I’m now spending more time focusing on my guitar-playing and actually being a part of the ensemble, rather than looking at my feet half the time.

Max: Yeah, we used to call it a laboratory, didn’t we?

Rory: I think from an equipment point, as well – because, like you said, How Soon Is Mars? was, like, four years back, and this is the next thing for us – …

Max: It’s pretty much all new equipment since then.

Rory: Well, we had pretty much got to that point where we’d invested so much money into gear and I, personally, as a drummer had everything I could ever want, and then we lost everything in a fire. Like, in a studio fire. So, it really pushed us back, in terms of, like, the band is six months out of playing and writing. We were just getting second-hand little bits and now we’re fully back to very overly-expensive equipment! [All laugh]

I understand that anxiety about ditching gear, because you’re kind of like, [In a panicked tone] “Well, what if I need it?!” It’s this weird anxiety you get. But I think when something as traumatic as a fire just wipes your equipment away and you have to rebuild, it does kind of… – I don’t know if you guys agree with this – … make you reevaluate what are the bare necessities.

Max: Yeah, exactly.

Rory: For ourselves, we’ve been together for a long time, especially as friends, and we’ve seen a lot of bands that we love and have played with and toured with, get to a certain point and be like, “Right, that’s enough for us,” and I think if anyone else was us, they would have called it years ago! [All laugh] It was the weirdest phone call. It was like, “Alright, no one panic but our stuff is on fire in the studio,” and everyone was like, [Calmly nods] “OK! It is what it is!” But we insure everything now!

What is it about Last Hyena that is worth that persistence?

Max: Oooh! Good question, actually.

Rory: I don’t know. The persistence, I think, comes from the friendship of us three.

Joshua: Yeah.

Rory: Like, outside of the band, we’re the closest of friends, do you know what I mean? We try and spend as much time as we can together, which makes being in the studio with the band just a blessing because it is all just laughs and joy, you know? Tours, gigs, everything is fun. I think because there is that fun, it is a bit of a family with these boys. Like, we spend a lot of time together in the last ten years, doing music, and it’s almost probably a stubbornness within Last Hyena now of…

Joshua: “We’ve done it this long! Let’s keep going!” [Laughs]

Rory: “We’ve played at ArcTanGent. That was great. Right, let’s do it again. Bigger stage.” Like, we set our sights pretty high and I think we’re pretty…We’ve always been like, “It doesn’t matter if we’re fifty; we’re still going to do it, going to make…”

Max: It isn’t even necessarily about “making it;” I just fuckin’ love doing it! A lot of bands, I guess, they get a wife and have kids, and they get a mortgage, and the band kind of falls by the wayside, but, obviously, I’m not saying I’m not going to do those things, but I’m always going to do the band, as well, just ‘cause I love it.

Put the band in the prenuptial agreement! [All laugh]

Max: Yeah! These boys come with me!

How do you guys find the Bristol music scene? From the artists that I’ve interacted with from the Bristol scene, it seems what you guys are doing is, generally, very different from what’s popular in the city. I’m not from there; I’m not trying to speak with any authority. But, from your perspective, how do you find the city receives your music?

Rory: It’s a bit of a weird one. When we moved here, when we moved to Bristol, we wanted to move here because the music scene was absolutely thriving, and it really was. At the time, we met so many incredible people that we’re such good friends with now, from bands, that are still in bands…

Max: Even, like, promoters and stuff.

Rory: Yeah. And there’s a really tight scene, where everyone knows everyone and turns up for the gigs and what not. But, these days, it’s slightly different. In terms of math- and post-rock – kind of what we’re doing – it has dropped off, there’s a lot less bands doing it, but, like we’ve said, we are those people to just be like, “Let’s stick with it.” Like, the first single from the EP, it does have vocals in it. We’ve not been…not “blind” to, “Right, let’s never try anything,” but we’re always like, “OK, how do we step this forward? How do we get extra people interested and whatnot?” But, music scene-wise, it’s still incredible, but, yeah, we get put on some interesting bills with bands because they don’t know where to place us.

Max: I was going to say, back in the day, there were a lot of bands similar to us, doing similar things, so you’d often have a whole math-rock gig, with, like, three or four bands in the same vein. But, nowadays, we’re getting placed with bands with guitars! That’s kind of the bare minimum! [Laughs] Sometimes it works! Sometimes it really works. If it’s like a kind of fusion-y, contemporary jazz, weird thing, we’re kind of weird and jazzy, almost, so it does work. But sometimes it doesn’t.

Rory: We come away from a lot of those gigs…Because we’re a little bit heavier now, we’re starting to get people like, “Oh, come and play with these bands!” We listen to them and we’re like, “Oh, my God! We’re going to look like Busted on stage!” But, yeah, we come away from these bills and, typically, the musicians are like, “Oh, my God! That was great! I loved it!”, and the fans who are there to see that band with guitars are like…

Max: “Yeah, you’re OK! Interesting!” [Laughs]

Rory: …“That was, uh…What was that?” [Laughs]

Joshua: There was that guy that came up to us when we played [Event name inaudible], and this guy came over to us at the merch desk, like, “I didn’t like that!” It was like, “OK! Alright! That’s fine!” [Laughs]

Rory: Well, I’m personally glad that he took time out of his day to tell me…[All laugh]

I’ve heard from artists that if you gig in The Netherlands […], if you guys ever gig there, you will, perhaps, get people giving very honest opinions, but that can be good, too. [Laughs] Actually, how do venues react to your sound? I don’t know if you guys have your own engineer or if you just work with the in-house engineers for your live sound, but how do you find the actual venues adapt to what you’re doing?

Joshua: Engineers love us, simply because there’s no MIDI, no in-ears; it’s all just stage monitors – as much as we’d like in-ears at some point – no samples, no backing tracks; we’re just guitar, bass and drums, and three vocal mics now.

Max: Yeah, and in terms of sound engineers, we don’t have any particular one, but we have maybe two or three that we… – Like, Mel…We’ve got…

Joshua: Rowan, as well.

Max: Rowan, who we use quite a lot – …who know us and have done us a lot, so they’re like, “Right…” – they’ve almost got our presets in their head already – …so they’re like, “Right, bang.”  Some venues are better than others. Like, we’ve always got quite a good sound out of Crofters. The Exchange is pretty good. The Louisiana is always a bit [Laughs] touch-and-go, I find, just because it’s such a weird, kind of letterboxed stage. But, definitely in the local area, I think it works.

Joshua: But even around the country, we come across a lot of the old-school engineers. Guys in their 70s, who’d be doing it for…

Max: With their Motörhead t-shirts!

Joshua: …most of their life. Then we pull up and we’re like, “Guitar, bass, and drums,” and they’re like, “Aw, yes!” There was that guy in Brighton who whipped out a microphone from, like, 1975, who’s been holding onto it, waiting for a rock band!

I’m picturing him opening the mic bag, and it’s like that scene from Pulp Fiction or something, where they open the briefcase. [All laugh] “I have what you need!” I just want to talk about the EP, it’s called Make It Sound French. [Editor’s Note – It’s actually called Suspect Your Elders. I misinterpreted the EPK information and thought it was the same as the single’s title. Mea culpa]. The first single off it – I made sure to write this down because I knew I wasn’t going to get it off-hand! [Laughs] – “Bless This Unbeatable Miracle Priest.” Did I get that right? [Laughs] Why did you decide to go for that, in terms of an introduction to the EP?

Rory: We all studied Popular Music at uni, and I guess there was maybe a little element of, “That’s the single from it.” Like we said, four years. How do we really bounce back and go, “By the way, what we did then? This is what we’re doing now,” and kind of come at it with a bit of force? People are into us and we do have some absolutely incredible, die-hard fans, so for them to hear that single and go, “Oh, there’s vocals in that! What’s happening?” Now it’s like, “We’ve got a lot more to come, in terms of what we’re doing, currently.” So, out of the four tracks, “Make It Sound French” is my favourite song. It’s one of the ones, live, that, as soon as it starts, the whole room just goes, “Oohhh! OK!” It definitely has a bit more, I guess, techy elements…

Joshua: It’s got a lot of songwriting elements in it, as well.

Rory: Yeah.

Joshua: Like, songwriting kind of style stuff, which is unusual for us, but I think it really opens a new chapter to push the band down. So, it’s kind of just inviting the fans that were already there to be like, “Right, this is the new vibe. Come with us.”

Rory: So, “Bless This…” was kind of, I guess, the opening of the door into…

Max: Our new sound.

Rory: …“We’re back!” And “Make It Sound French” is that kind of further iteration which is, probably, closer to some bits from the previous album but envelops a lot of the new stuff, the new single. So, the EP in itself is quite a journey of what we’re doing at the minute, and the third and fourth track are incredible, as well.

Max: And I think with “Bless This Unbeatable Miracle Priest,” as well, just the title, it’s going to stick in your head, isn’t it? [Comedically uncertain murmurs between the interviewer and the other band members] Well, it’s going to stand out, is what I meant to say! [Laughs]

I guess I’ll wrap up by asking about the process of the EP. How long has it been in development for? You were working with Mark Roberts on this, I know, so did this EP cycle begin after Max had rejoined the band, or was it in process before that? Were the songs on the EP written after Max had rejoined the band?

Rory: Well, yeah, we love writing a song, and sometimes we write too many, maybe, but when Max rejoined, it was that thing of, “Right, we’ve still got gigs. So, here’s our current set, so you’re going to have to learn all these bits,” but, at the same time, we wanted to start writing, to phase those songs that weren’t written with Max out. So, yeah, every song on this EP is fully written by this…

Max: This Max! [All laugh]

Rory: We recorded… – what? – …a year…over a year ago?

Joshua: Over a year ago now, yeah.

Max: It’s a long time ago, actually.

Rory: And we’re very trigger-happy with everything we do. We write a new song and we’re like, “Oh! Let’s show this to everyone at the next gig!”

Joshua: So, we’ve tried not doing that!

Rory: Yeah. We wanted to have the video with [director] Kieran [Gallop], who’s absolutely brilliant. Have the right amount of press, and, you know, release it at the right time. We had a bit of a quieter year, last year, while we were getting all these bits worked on, so we can come into this year, like, “Here’s a single. Here’s a video. Here’s a single. Here’s an EP,” and then just play loads of gigs across the year, get into next year and be like, “Here’s your second album,” and have all that.

Joshua: It’s actually just kind of attacking with a plan, while before we were very much like, “Wahay! We’ve got an album! Drop it! What do we do?” [Laughs]

Yeah, that’s a good point. I’ve been talking with other artist, and that is just the process you have to be in now, is just constantly releasing singles to keep you in people’s minds, and it is a difficult thing to do, because, to me… – and I don’t know if you guys feel the same – …but, to me, releasing an album seems like the logical thing to do and then you have a full songbook ready to go, but, apparently, that’s just not really doable as much anymore, because, as you said, you put it out and then people listen to it and then it’s nothing for a while.

Max: I’ve been noticing, recently, that a lot of artists I listen to, they’ll have an album ready to go but they’ll release, maybe, half the songs as singles, which is insane because an album usually used to have, maybe, two or three singles, tops. Now it’s, like, six or seven singles from an album, then the album drops and you’re like, “Well, I know all these songs apart from two,” which is fine. That’s fine, and that’s how content works these days, right? So, I do think when we eventually do go to do album number two, we’ll probably have to do it in a similar style to that, rather than do two singles and then drop the rest.

Rory: It’s like you say, and it’s horrible, but it is all about being current these days. You look at TikTok and Instagram, and the bands who are playing good shows, [it] is because their socials are popping off and then people are picking them up for that. We’ve always been like, “I just miss the good ol’ days of being a good band, with a record label scout at the back of the room like, ‘That’s a good band! Let’s get those guys!’”

Max: Now, you’ve got to be your own scout, you’ve got to be your own videographer, you’ve got to be your own scriptwriter, you’ve got to be your own this and that…

Rory: Every week, we’re like, “Right, what dance are we going to do this week, boys?” [All laugh]

Yeah, and sometimes even the means of expanding your band can be threatened. Recently, I’ve been talking to so many artists who feel threatened by the potential of the TikTok ban and things like that. It just seems like, because you’re at the whim of these social media companies that you really have no stake in, in terms of platforming yourself, if they make a bad decision or even if they get outlawed or something like that, it’s just like, “Well, there goes all that effort!” [Laughs]

Max: Yeah, that is true. It’s really important.

When it comes to a larger body of work – be it an album or even an EP – do you try to have a consistent throughline or continuity between the songs, and, if so, do you think that having to do this pattern of single releases in any way disrupts that?

Max: I think we sort of have a formula that we stick to anyway. I guess we market ourselves as “post-rock/math rock” or “math rock/post-rock,” whichever way you want to go about it. So, there’s always that continuity in the sense that we’ll do these big prog-y, post-rock sections, along with some technical, more choppy bits in-between. More rhythmic kind of choppy bits. A bit more riff-y stuff. So, in the sense of songwriting, I think there’s always going to be an element of similarity between the songs. I don’t think we go into it, naturally thinking, “Oh, let’s link these songs so we can make a coherent album or a coherent EP,” but I think putting those four songs together in the EP, it just worked anyway, you know what I mean? Because of the similarities that come naturally.

Joshua: And when we work on our live set, we always try and tie songs into each other. For live sets, you know what it’s like, the moment there’s a drop of silence, suddenly all the energy in the room just dissipates. So, when we’re actually writing the songs, we’re also, subconsciously, tying them into other songs so that it flows as a live set. I guess that’s what you said about continuity without realising it.  

Max: Yeah, for sure.

Rory: Yeah, for sure. I’d say we’re very much a live band, d’you know what I mean? We love putting on a bit of a performance with it all, and, even when we’re writing, we’ll be writing a section and be like, “But what would really screw with the audience?” [All laugh] You know, “7 here, but let’s do a bar of 6, and then we push here,” because we try to envision the reactions of what someone would be like. [The members mime bewildered gig-goers, then laugh] That’s what we want from every song, I guess.

Yeah, I think the audience, during the setlist, they’re enjoying it, but they can get kind of passive in their listening and just sort of chill a little bit, and there is something to just snapping them back a little bit and making them go, “Oh!”, you know?

Rory: Yeah, I think it’s the blessing of our music, as well, [Laughs] you probably won’t hear the same bit twice! [All laugh] It’s like a barrage of, “Oh, right, now we’re…OK, I don’t know what’s happening!” But, em, yeah, for us, seeing people…We don’t even, necessarily, need people dancing or bopping along, but that smile on people’s faces of, “Why have you done that?”, then we’ve done our job, perfectly!

Max: I find it so funny; we’re writing in the studio and we’ll have a particular section, and we’ll play eight bars in 5/4, and then we’re like, “[Dissatisfied sigh] That’s fuckin’ boring! Half that! I’m bored!” I think the problem is, we get bored with sections! We’re like, “Nah! Move it along!”

The final thing I’ll ask is, you were mentioning building up the singles for this year. Obviously, you have a gameplan for this year, in terms of reintroducing people to the band. You were mentioning potentially building up to the second album in a year or two. I was wondering, is the music that’s coming out now going to be a part of that, or is this its own EP and the songs on the second album are going to be totally different?

Rory: Yeah, so this is its own EP. Like I said, kind of the door opening to, “This is who we are. This is what we’re about…”

Max: It’s the hors d’oeuvre before the main course!

Rory: There are songs from the second album in our set, that we play live, already. So, people can get to know these songs, and the songs they already know at gigs and stuff, they’ll then get to hear on the record. We’re in the studio today, and we’ve got two more songs written and ready for that.

Max: For the album.

Rory: We’ve still got a few more to write, but these will be, essentially, nowhere near the album. Almost, like a…I guess like a…

Max: A precursor.

Rory: Yeah, a precursor for the album. When it launches, it will still hold the same musicality and theme, I guess.

Last Hyena’s latest single, “Make It Sound French,” is on all streaming platforms now. The band will release their new EP, Suspect Your Elders, this year but the date is TBC at time of publication. You can find all updates on its release through Last Hyena’s Linktree account.

Aaron Kavanagh

Aaron Kavanagh is the Founder and Editor-in-Chief of Post-Burnout. His writing can also be found in the Irish Daily Star, Buzz.ie, Totally Dublin, The GOO, Headstuff, New Noise Magazine, XS Noize, DSCVRD and more.