The Dublin-based art rockers Sky Atlas are making a name for themselves for their unique blend of atmospheric and ambient soundscapes with folk and indie inspirations.

The band’s vocalist and guitarist Lughaidh Armstrong-Moyock and bassist Danilo Ward spoke with Post-Burnout to discuss meeting at music college, the incorporation of vast musical influences and education in their songs, the evolution of their music, the rise in popularity of left-field music, musical versatility, their first nationwide tour and their plans for future.

The first thing I’d just ask is if maybe you could just introduce yourself and say which instrument you play?

Lughaidh: Absolutely. Em…[A blender in the café that he’s calling from goes off] Oh! There’s a blender. Can you guys hear that blender?

Aaron and Danilo: Yeah [All laugh].

Lughaidh: OK. My…sorry, maybe Dani, you go first while there’s blending going on.

Danilo: Cool. Well, I’m Danilo Ward; I play bass in the band and do a bit of backing vocals, we all do. Yeah. That’s me. Should I introduce Ryan [McClelland]? I guess Ryan’s not here, but he plays drums and Louis [Younge] plays keys and violin, mainly. And we all sing, as well.

Lughaidh: Yeah. And I’m Lughaidh and I play guitar and I sing, as well. Or I guess I do lead vocals and lead guitar. It’s kind of my buzz. Like, background-wise, do you want more than that?

No, that’s fine. I was just going to ask actually about the formation of the band. So, my understanding is that you’re all students of BIMM, is that correct?

Danilo: Yeah. So, yeah, we met in BIMM, just like first year of college. [We] played together, you know, for college for a while and we just kind of stuck together. I guess, at first, Ryan wasn’t playing in the band, we had another drummer early on, you know?

Lughaidh: Yeah.

Danilo: And, when Ryan joined, that’s kind of when we really kicked it off. And yeah, played all throughout college and now we’re done college for two years, I’d say, and we’re still, you know, rocking on.

Lughaidh: Yeah. Well, I’d guess this is our second year out of college, is it?

Danilo: Yeah.

Lughaidh: Post-COVID. It was all like, our last two years, was all kind of COVID. But, like, the band has kind of started, I guess, because of a product of meeting in music college, is you’re kind of still trying loads of bits out when you’re…So, we kind of started kind of almost soulful, indie rock. We had almost like a prog phase.

Danilo: Yeah.

Lughaidh: A more jazzier phase; Louis used to play saxophone. Em. And then we kind of settled into – with the style – we went a bit more folk and now we’re kind of leaning towards more, I guess, more art rock, in regards to maybe late Radiohead, that almost kind of faster driving drum and bass rhythms, but also still kind of moody and shoegaze-y.

Danilo: Um.

Lughaidh: So, that’s kind of where we’re moving towards, you know what I mean? It’s kind of like being a…Yeah, I guess, because we met at the start of college, it took a while to really figure out where we wanted to go with it, you know what I mean?

Danilo: Yeah. I think Louis used to play sax on almost all the tunes…

Lughaidh: Yeah.

Danilo: …and now it’s totally out of the set; like, there’s no more sax. I guess it’s kind of hard sometimes, it has such a jazz vibe to it that since we’re kind of moving away from that now…We’re not using it so much, it might come back at some point in a different way, you know? But…

Lughaidh: Yeah. We’re being a little more, like, synth-y.

Danilo: Louis is on the synth a lot, yeah. He’s playing, like, synth bass a fair bit now and, eh…which is cool, you know?

Lughaidh: Dani loves bowing his bass nowadays, as well! Playing like a cello or something.

Danilo: Yeah. Louis has, you know, space to be on the synth and play the basslines. It gives me the opportunity to do, like, other kind of more like sound design things over it, which is fun. It’s just a fun way to kind of switch things up, you know? Yeah.

When you were at BIMM, were you all on the same course or were you studying different things?

Lughaidh: So, we would’ve been all in…we were all in the same year.

Yeah.

Lughaidh: But, obviously like, we would’ve been…me and Louis – like, Louis plays everything – so, Louis actually did the guitar course with me, but, I mean, he played anything but the guitar throughout college. You know, he was doing keys, violin, sax. Sometimes he’d hop on the bass. You know, it’d be quite rare to catch him with a guitar in his hands [Laughs]. Which is a bit gas. [Lughaidh and Danilo speak over each other] Oh, sorry.

Danilo: No, no. I just meant like, I think Louis is a better bassist than me, even. Or, like, just in terms of, you know, his theory and all that, and, like, he’s just so good at everything. Yeah.

Lughaidh: Yeah, he’s a nerd! A music nerd! [Laughs] But, yeah, so me and him did the guitar course, Danilo did the bass course, Ryan did the drum course. I kind of just did the guitar course to kind of up my skills, in that regard, but always would’ve had an interest in songwriting; like that would be where my real, I guess, passion would lie, is writing and arranging and I love, like, composition and stuff as well. I’ve done kind of bits and bobs, work like that, along with, like, session work and stuff like this. But, em, we would’ve all had, like, modules that crossed over, like the Performance module and stuff, where we’d have to, like, prepare for thesis for stuff. Which I guess was partly the…how we kind of first played together, was we kind of had to, I had to get like an assignment together – and it was actually one of my own songs – and I got the lads involved, just kind of on a whim, just was like, “Oh, you guys seem kind of good,” and we just stuck playing with each other, you know, throughout college, which was cool, like. It was really cool. [The blender goes off in background].

Danilo: Um.

Lughaidh: Sorry, that blender…I’m just going to…

No, that’s OK.

Lughaidh: …going to hit the [mute] button for a sec.

My understanding is that, em, the members of the band have a very sort of diverse interest in music; kind of coming from all over the place. But, I was wondering, em, was that kind of in anyway a hindrance, in the sense that, I find whenever you start up a band, whenever there’s different interests in music, that can also be a point of contention, in terms of what you should aim for with your music, if that makes sense?

Danilo: Um.

Lughaidh: Yeah. That’s certainly been a thing. It’s like…yeah, I guess in all this kind of…For a time, it was all creeping in; you’d have all these little elements of…You know, sometimes it was just kind of, as well, like, we were constantly being inspired – in a music, surrounding the musicality – we were kind of constantly inspired by different things and you’re not sure where you want to go with it yet, so we were constantly kind of changing like that and taking new direction.

Danilo: Um.

Lughaidh: Until really now, we’ve all started, em, like…the writing is really collaborative, now. Like, we’ll all write in a room together and I feel like it’s a lot more cohesive in sound, because it’s all four in one…you know, of the same moment and same intention and we’re all like, I guess…You know, we’ve matured in our tastes and in our intentions and I think we just have a more clear idea of where we want to go with the music, which is exciting.

Danilo: Yeah, but it took a while. I think we did it all kind of naturally, like none of us are, like, strongheaded and are like, “This is how it should be” or “I want it to sound like this!” We’re very easy-going in terms of like working out songs together; it flows really naturally, but you can tell, compared to four years ago to now, we had to go through a long process of trying different things together to find what we’re kind of doing now. Which is nice, you know? But, it’s all been very collaborative and nice, you know? I think everyone, eh…kind of know what to put into the band and stuff, you know?

I know even maintaining a band with, say, the simple structure of guitar, bass and drums can be quite, eh, challenging for, you know, kind of, I guess, smaller artists. But, like, when you add in additional instruments, like saxophone and violin, it seems like things like that are very…those kind of instruments are very idiosyncratic; they’re very, em, specific, they’re very specialist.

Danilo: Um.

Lughaidh: Yeah.

So, I was wondering, like, does that ever kind of put you dead to rights, in that sense, if you ever had to do a line-up change, or do you feel like the band could continue without those elements?

Lughaidh: Yeah. I mean, like, there is a certain, say like, just for having a sax – having a saxophone can be oddly pigeonholing, in the way that people just assume that you’re a jazz band, because there’s a saxophone there, or…I think, like, Louis being able to move across so many instruments can instantly, you know, change the kind of feel or style of the band, depending on whether he’s more, like, synth-based and gives it, like, a bit of a more electronic side. When he’s on the sax, people tend to think it’s more jazzy or, if he’s on violin, I guess that’s a whole other sound, more folk vibe, you know what I mean? Em, but, like, I’m really happy to, like, use all elements and really…Like, I don’t feel we have to absolutely stick to something, but definitely, now, I just feel because it’s collaborative and because we kind of know where we want to go with it, I guess the choices we’re making are a bit more purposeful. It’s kind of, you know, it’s like “OK, well what instrumentation will work for this kind of buzz that we’re going for?” and it’s kind of, it’s actually just given us more versatility and a lot more options, you know?

Danilo: It’s definitely harder than ever now to have to replace any of the guys in the band, you know? If someone…if we had to get a dip-in or something. It’s become much more complicated and, you know, we’re obviously being…[The end of his sentence is drowned out by background noise in the café].

I feel, also like, when, em, I guess your…I guess when the instrument you chose to learn is a lot more specific, like I say, like a violin or sax, it’s not, for example, an instrument that every band is seeking, say, in comparison to a drummer, for example. It kind of…does it limit your options, I wonder? I guess, one thing I’d ask is, like, how do you feel that your music has been influenced by the fact that you guys actually are students of music versus, say, people just getting together in a garage and jamming?

Danilo: Um.

Lughaidh: Em…Yeah, I mean, I think both are totally valid. I mean, I think really, for me, the fact that I went to a music academy was because I grew-up in Meath and Leitrim, like, and there was no real bands going, you know what I mean? Otherwise, maybe if, you know, I’d have grown up somewhere like Dublin where there are so many musicians around, it’s such a diverse scene, maybe I wouldn’t have necessarily considered going to music college because I would’ve already maybe known people, you know what I mean? I don’t know, like. It definitely – in regards to music college – it definitely broadens your horizons; like, you’re subjected to a lot more different styles and types of music and, like, you’re surrounded in kind of a competitive environment and it’s quite inspiring and it kind of pushes you forward, but it’s also, like, with that being said, since kind of leaving college, I very much feel like I’ve kind of gone back to my roots in the sense of, like, I kind of took on that information but, like, I was always kind of going a certain direction before the college anyway, where I feel like in a way it oddly kind of took me away from that and, since finishing, I’ve kind of been more reconnecting with that initial type of style of writing that is more me, anyway, or was before, you know…I don’t feel like a musicologist at all necessarily, anyway. It’s like…I think there’s definitely a magic in just doing it yourself and getting together and, you know…You absolutely don’t need to be technically proficient on an instrument to know how to write a song, to be musical, you know what I mean? So, yeah, definitely, for me, it was just meeting people; that was the best part of the music college, for sure.

You recently just did a nationwide tour of Ireland. Do you feel – even in a country as small as this – do you feel that there are areas where people are more receptive to the music you’re doing versus other parts, or do you feel it was all kind of equally – no matter where you went – it was equally receptive? It was equally well-received, I mean?

Lughaidh: So, certainly when…No, I would say, like, Dublin definitely seems to be the hotspot for people genuinely being curious about new music, they’ll just kind of go out. I wouldn’t say it’s totally balanced interest across the country. I wouldn’t say, like, where I’m from, Leitrim, and next to Sligo, like, like there would tend to be a lot less original music; people kind of want to see you do covers and, like, the hits and stuff like this. There’s a lot of great musicians in Sligo, but it seems to be a lot of people have to – unless you’re doing more trad or, like, more folk – people kind of having these 50/50 sets; like if you’re an original act, you’ve still got to have to, like, [do] 50/50 covers.

Yeah.

Lughaidh: And there are other cities that are better. Like, Belfast has a great scene, I think Cork has a great scene and so does, like, Galway and Limerick, as well. I guess we’re just well-known in those areas, so a lot of our tour was just planting flags, you know what I mean? It was kind of getting to these places and kind of going, you know, just trying to spread out a bit more and get our music across the country more, so. But, I mean, on a first tour, that’s generally the case, anyway: you’re going to have larger followings in certain cities and not as many in others, you know what I mean?

Danilo: Um.

I was wondering, because that sort of diversity we were talking about of musical interests, is that influenced by, I guess, the kind of modern-day streaming services – the availability of everything in your pocket, basically – versus, say, when it was depended upon vinyl, you had to sort of buy whatever you already sort of knew you were going to like, or do you feel that, growing up, it was always a diverse household, where you grew up? Because I know there was, like, an influence at home, if I’m correct?

Lughaidh: Yeah. Sorry, so how’d ya mean? So…vinyl versus streaming…?

I was more so asking…Yeah, you know like…Not just vinyl, but, like, physical music, in general, when you had to buy a record in a shop, I think people tended to stick to stuff that they knew they would like, which was maybe a certain genre; maybe just buy hip-hop or metal or punk or whatever…

Lughaidh: Yeah, OK.

…versus now, where there’s really no…There’s nothing to lose from tipping your toe in a few different waters.

Lughaidh: Yeah, OK. I see what you mean. I mean, I dunno, like, there’s definitely a real charm to, like, buying a vinyl or a CD and, like, that being your album. And I think that’s one thing streaming has really ruined, is the whole idea of, like, getting an album or an EP and listening to it from start to finish. Like, everything is like you discover an artist’s top five; everyone just clicks on your top five songs. And I guess the album and the order of the album, it’s all very intentional, it’s sometimes conceptual and, like, it’s a full kind of experience, listening to an album back to front, and I think that’s kind of slightly disrupted by streaming. And, yeah, I guess the genre thing, I suppose, then that’s one bonus about Spotify is you do kind of have these kind of “Discover” playlists where Spotify kind of helps you discover a lot of new artists, you know? Or you get your Daily Mix or whatever that you kind of come across people, which I think is really positive: it gives, like, maybe people who are kind of unknown a chance to, I guess, get out there. So, I guess there’s pros and cons to it all. I mean, again, like, sometimes the play…Maybe an artist can land on a playlist and get boosted up, but it might only be one song that’s been added to the playlist, and then, like, they might have a whole album or whatever that is not…[His Zoom freezes].

Oh!

Lughaidh: [Robotically stuttering back in]…so, most people just know them for, you know, one song, so. Oh, sorry.

Yeah.

Danilo: You’ve frozen.

Lughaidh: I know. Sorry. [Goes for a second and comes back clearly] Hello?

Yeah, I can hear you, yeah.

Lughaidh: Yeah, I don’t know. Like, the influence of my family would’ve been [that] my mam’s a musician, she plays with a band called Kíla, it’s kind of trad fusion, and, like, there would have been all sorts of music on as a kid, for me – that was folk to, like, rock. She was a big David Bowie fan – or still is a very big David Bowie fan. I love, like, Arctic Monkeys and I was kind of, like, into [Red Hot] Chilli Peppers. I went through a huge metal phase as well when I was younger because I’ve older brothers. My oldest brother loved, like, really heavy stuff, like Meshuggah and, like…I was into, like, System of a Down, Rage Against the Machine, Korn, that kind of craic, but then also, like, trad, traditional music, folk. Anything and everything, like. I think I would’ve had a fairly, I guess, diverse pallete in that regard, like, I’d listen to anything kind of thing. What about you, Dani? Sorry, I’m talking loads there [Laughs].

Danilo: Yeah. Yeah. I definitely, like, started listening to more things, I dunno, maybe when I was 18 [and] left high school, you know? Yeah, um, in terms of like my influences and things, I dunno, I’m influenced by a lot of influences. It wouldn’t always be stuff that we would talk about within the band, you know? I think the sound of the band is definitely all of our individual likes and stuff and, yeah, I dunno, I’m influenced by a fair bit of things, and I guess that does show, to a certain way, in the band. Even like even me using the bow for the craic, that’s like, that would be, I don’t know, influence of more like post-rock stuff, like Sigur Rós. So, I guess some things, like…I wrote my college thesis on that band [Giggles] and I do like ‘em a lot! So, you know, there’s certain things like that that would come out. But, yeah, I don’t know, even I guess the jazzier side of things, I was never a huge jazzhead, so I do like some of it, but that also, I think, was a lot of the start of being in BIMM and having Lughaidh and Louis who were into that and, now, we’re bringing it a bit less, but, you know it’s kind of a mix of whatever we bring.

Lughaidh: Yeah. I think we all liked Hiatus Kaiyote and Snarky Puppy a bit [Laughs] at the start of first year. They were kind of like the…they were like the… they seemed to be like the “BIMM gods,” those bands.

Danilo: Yeah [All laugh].

Speaking of your music, so, Sky Atlas has an, obviously, a very – I think just the name – has a very epic connotation to it and obviously your music sort of plays into that; it has this very, I think, ethereal, kind of spacious vibe but, simultaneously, it’s not ambient music; there is a structure. What I would say is – and this is my reading of the music, and you can call me out if you think it’s wrong – but it seems like it has a base of very, for lack of a better term, “indie guitar rock” but with a superstructure of more spacious, ambient, I don’t know, ambitions of, I dunno, exploring other worldly concepts. Would that be fair, do you think?

Lughaidh: Yeah, I mean, we certainly like a sense of atmosphere; it’s kind of, like, maybe cinematic.

Danilo: Um.

Lughaidh: Like, that kind of sense of drama that gets, em…Like some of our arrangements are quite grand, like, they go…you know, they’re quite dynamic, we like to kind of go and, you know, have a little bit of a journey in the music, I suppose.

Danilo: Um.

Lughaidh: It’s, eh, yeah, it’s one of those things that’s constantly evolving. Like, this tour for example, we kind of were playing…like, half the set was a full, like, fully just brand-new music and we really intend to keep continuing along that vein into the New Year and start the makings, maybe, of our first album, you know? But, yeah, it’s certainly…You know, I think, actually, one time someone described it as – a gig – like, “A galactic space battle!” “Pirate galactic space battle,” or something like this! [All laugh] And that was a few years back, that was probably when we were still…kind of, had more crazy prog lines in there.

Danilo: Yeah. Yeah, I think…I think it started much more…more like that, you know? And that’s why maybe the “prog” label was there a bit and I think now the new stuff is still kind of using that pallete, but condensing it more into, like, just how the songs should be at the core of it, you know?

Lughaidh: Yeah.

Danilo: As in, we still are using more atmospheric…and, in some stuff, you know, [there’s] more drama in the songs, but it’s not so…it’s not as, like…

Lughaidh: It’s not as much, like, wank [Laughs].

Danilo: Maybe as it used to be. [Registering what Lughaidh said] Yeah, exactly. It’s, eh…it’s kind of maturing a bit now and just serving more of what the songwriting [is trying to achieve]. So, that’s nice.

Lughaidh: Yeah, I think I agree. I think it really…Like, the music has a bit more manners; it’s a bit more purposeful; we’re focused on parts, not like…I dunno. We’re not looking to do any musical flexes as, maybe, would creep in, in a music college scenario [Laughs].

Danilo: At one point, I think, in our set, we had, like, guitar solos in, like [Laughs], so many of the songs and we’d be like, “Ah! We can’t have one again!” You know that kind of thing?

Lughaidh: Yeah, yeah, yeah!

Danilo: That used to be…We used to kind of just jam out and it’s a fun part of playing, when you first play, and you’re, like, jamming out and ripping solos and, you know, it’s kind of exciting but it’s definitely less of that now.

I think that kind of stripped-backness is evident on your latest single, “Hollow.” I was wondering what the conceit of that was and how you think that song differs from other songs in your discography thus far?

Lughaidh: Yeah. So that…“Hollow” is, kind of, it’s kind of a standalone as well; we’ve actually since moved past that kind of work. That, to me, is…it’s a folk song. I kind of, in the case of this song, was something that I wrote at home kind of on the acoustic, it’s that Travis Picking style, you know, singing about a woman and, eh, then I brought it to the lads and, of course, it kind of grew a lot more, again, cinematic; a bit more epic. The big kind of climax at the end and it’s got some really cool, like, heavy driving bass and stuff. But, in my mind, it’s still kind of more in the folk world, which is absolutely like a part of our roots, in a lot of ways, which is cool and I do think, moving forward, there will still be that kind of element in there, but it’s…Yeah. It is still of another time, really, in comparison in where, I guess, we’re moving towards. But, em, yeah. I don’t know if…Did that answer your question?

No, absolutely. One word that keeps reoccurring is “cinematic,” and I was wondering, was there any inspiration from composers, like, film and soundtrack composers? And was there any particular film soundtracks that you find particularly enjoyable?

Danilo: Um.

Lughaidh: Yeah, I mean, like, so, myself and Louis would have done…or, Danilo, did you do it as well?

Danilo: Yeah. Yeah.

Lughaidh: Composition. We would have done composition, we would have studied composition. I had to score and that kind of thing. So, I guess like that is partly what, you know, inspires us in a way and I don’t know, composers-wise, I’m trying to think. Like, there was no, like, direct reference to a composer for, say, when we were producing a track, it wasn’t like, “Oh, we want to sound like Hans Zimmer,” or something like this. I dunno, like, things will kind of seep in in different ways and we’ll take different ideas. I think a lot of references for the likes of “Hollow Embrace,” were kind of, we were looking at people like Hozier and Radiohead a little bit and a band called Half Moon Run, who are kind of folky but, like, also a bit indie rock. I suppose that kind of cinematic thing is very evident in some of Radiohead’s later stuff, you know, like “Burn the Witch” or one of those kind of tracks. I think that was actually a direct reference for the track “Empty Hands,” where we had a lot of strings going on and kind of stabs. Yeah. I’m actually trying to think. Dani, I don’t know if you can remember any particular composers, or…?

Danilo: No, like I am a fan of some film music and stuff, but it’s not something that I think too much [about] when writing together, yeah. I think, maybe, with like, on the [Stone] EP, I think “I Will See You Again,” I vaguely remember us talking about – there’s big bass swells and there’s a bit of, like, synth on there – and I think we were talking about, oh maybe briefly, some of the stuff that Hans Zimmer had done…

Lughaidh: OK, yeah. Maybe a bit of Batman in there or something [Laughs]?

Danilo: Yeah. Anyway, but it’s not like, eh…I think the cinematic element to the music doesn’t really come from film music, it’s more of, em, eh….Yeah, I don’t know, maybe more of an aspect of playing live that we like. That live it’s a thing, you know? It’s a show, as well. That may be…I don’t know.

Lughaidh: Well, I guess actually, for me, instrumental music, like, Kíla, for example, which is my mam’s band, would have actually been an inspiration, you know? And they’re very much creating a lot of drama instrumentally, you know, and telling the story through music. Of course, they sing in songs as well but a lot of their tracks are instrumental, so it’s like the idea of kind of creating a story or little journey through music and having…I guess that is kind of what a cinematic sound kind of is.

Danilo: Yeah.

Lughaidh: So, that definitely…like, I was also big into that, like the idea of kind of arrangement and having like, you know, a few sections – I think we’ve probably gone a little less on the sections; I think we used to have a lot of sections [Laughs] on our songs – but, em, yeah, kind of creating that kind of atmosphere behind the vocal is definitely something that’s kind of very important.

Do you think there is a place, I guess, in kind of the modern Irish music for things that are kind of…[left field], let’s say; a little kind of out there, a little experimental, a little not easily defined, let’s say? Do you think that has just as much of an opportunity to get exposure, as say, people who are content to – you know, and I’m not saying this with any kind of judgement value – but people who are more content to stick to [the] parameters of, say, indie rock or something like that?

Danilo: Um.

Lughaidh: Yeah. I don’t know, I think more and more there’s a lot of really interesting kind of bands cropping up in Ireland. Like, the scene is enriched with, like, a kind of, I guess, an alternative scene. I think you get a lot of post-punk, but, within that, you get a lot of shoegaze-y stuff, like noisy stuff, the likes of like Just Mustard or Gilla Band. I don’t know, like, even influences, sometimes I see even in stuff like Lankum, even though it’s very much folk, but they’re doing their own spin on it, and they’ve got their own mad arrangements, odd arrangements and they really use that, like, more like unconventional sound and textures within their music, you know what I mean?

Yeah.

Lughaidh: And, I don’t know, yeah, I think there’s absolutely a really thriving scene in Ireland that’s kind of coming up and I’m kind of really excited to be here for it and watching it grow, it’s kind of really inspiring. So, yeah, I’d say there’s room for artists, yeah.

I definitely think it’s very interesting, the scene we’re living in. It seems, I guess, it seems maybe adjacent to mainstream pop radio. It seems like, stuff can kind of be successful now in spite of that, you know? You said Gillia Band, them and M(h)aol just sold out the National Stadium, you know, a couple of days ago even though you’re not really hearing them on maybe the stations you’d hear – and, again, I’m not picking on any of these bands – but, like, Picture This or something like that…

Lughaidh: Yeah.

That that can still exist and be popular, I think is very promising. It doesn’t have to be just smaller clubs or pubs or stuff…

Lughaidh: Yeah, like people who build reputations in different ways. I guess that is one positive to streaming services, is that you don’t have to be a radio sensation to come up in the world; you can use other alternative platforms and build followings that way, and really dedicated followers, you know? A lot of more, like, niche corners in the market, like, people seem to be really into them, and they’ll really go and they’ll support these gigs. Yeah, which is great, as opposed to when radio was the sole voice and, I mean, if you weren’t on the radio, you kind of didn’t exist, you know what I mean? So, it’s certainly opened a lot of doors for that, absolutely.

Danilo: Yeah.

Lughaidh: Which is great.

Wrapping up, is there anything you’d like to add, and, just in general, what does the future hold for you?

Lughaidh: Yeah. We’re really focused on getting some work on this album – so a lot of writing, a lot of demoing, working alongside a producer and really getting the production side of things really right this time, you know what I mean? And, you know, moving into festival season and hopefully having a good summer, just gigging, and then hopefully launching a lot more music in the New Year will be the plan for now, yeah.

Perfect. Thanks a lot, guys.

Danilo: No worries. Thanks, Aaron.

Lughaidh:  Thanks, Aaron.

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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.