For many years, Conor Miley wrote socially conscious and politically charged tunes with his band, We Raise Bears. But for Thousand Yard Stare, his new album and the first released under his own name, Conor takes a much more personal introspection.

Conor sat down with Post-Burnout to discuss this new album, teaching himself to become a sound engineer during the lockdown, how working with other creatives has freed him up, balancing music with his teaching job, and more.

Note: This interview has been edited slightly to maintain our prosaic approach to transcribing the interviews we conduct, while simultaneously being respectful of which parts of their stories our guests wish to keep to themselves.

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I guess the first thing I’ll ask you is just kind of how you got started and what sort of instruments did you begin with?

I suppose, when I was a kid, piano would’ve been my first one. I did all the grades, classical training, all that, growing up. I suppose, people told me, when I was a kid – I have really long fingers [Both laugh] – so, they were like, “You should play piano!” and no-one in my family did. Like, my aunt plays harp. My gran, she taught me my first guitar chords. But no-one played piano, so I just took it up. I did all the grades and then, when I was a teenager, I taught myself guitar. Then I started getting into sort of singing, so I taught myself to sing to the guitar. And then, from there, just anything with strings or keys, I’ll give a go, basically, you know? So, I studied in…I studied piano in college. I did a bit of jazz then…I did that for a couple of years, then I went back and did something else as well. So, I would have studied piano as well, up to third-level. And, yeah, so that’s it, basically.

So, it’s kind of a mix of sort of self-taught, autodidacticism and formally trained?

Yeah. Like, I found learning guitar a lot easier when I understood the theory behind everything I do. Even like, say, when you’re learning barre chords, and, you know, let’s say, you’re going up three frets, that’s a tone-and-a-half. Just being able to understand that, like, you know? It was just made a lot, lot easier, like, you know? So, when it came to guitar, I just learnt songs; the likes of Radiohead and things, like, and just playing along to stuff and singing. So, that’s how I would’ve learnt the guitar, like, you know?

You’ve actually mentioned… – I just wrote it down – in the RTÉ profile, you mentioned Radiohead, Nick Cave, Elbow, Sigur Rós, Gilla Band and Rage Against the Machine, among others [as influences]. I was wondering, how do you think you incorporate those elements into your own music?

Well, I suppose, lyrically, the likes of Elbow and Nick Cave would be…well, people say I have a bit of a tone in the way I sing, like Nick Cave, but it’d be more lyrically, that sort of thing. I would be very lyrical based. The songs I wrote for the album I just did, that’s being released in the summer, that’s very…songs very much centred around the lyrics. So, I would’ve started off with the lyrics, basically. I would’ve played on a guitar…sung on a guitar or piano and built a song around that. But then other stuff, like, I’d guess when it comes to the likes of Radiohead, like, I’ve sort of a bit of an obsession with them. So, all about, say, how they build up songs, the chords they use, how they…even [Radiohead guitarist and keyboardist] Jonny Greenwood, his string arrangements, they were a big influence. I wrote strings for my album; there’s a lot of strings on it and they would be…it doesn’t even sound like it because when you listen to it, it sort of sounds like The Works, with the big…with certain parts, a lot of dissonance and things like that, and a climax. The song I just released, “Father’s Day,” there’s a…for about two bars, there’s a whole just…you know, crescendo that goes up a few octaves, and that would’ve been very much influenced by Jonny Greenwood sort of stuff. I suppose then, like, you know, Rage Against the Machine…not on this album, but what I was doing before would be very sort of politically…and the next stuff I’m going to do. But this album is going to be…it’s just  sort of a project in itself; it’s very personal. But, when I move on, I suppose at the end of the year, and start looking at the next one, it will be very, very different. I suppose you’ll see more of the Gilla Band, Rage influences then, you know? [Both laugh] So, yeah.

Well, you say this one isn’t very political, but it somewhat is. I mean, “Father’s Day” is kind of about…

Oh, that song. Sorry, that would be the most political on it. Like, you know, that does come from my experience as an unmarried father. I’ve a [son]. He’s gone four last week, and I would’ve written that around the time he was very young, about the sort of confusion around that, not being legally his father and all that. And, eh…I won’t go into it too much, as the effects are still there basically, you know?

Sure. Yeah. I mean, you’re coming from We Raise Bears, the band prior, and I think this song isn’t too dissimilar to the music you were doing there. I feel, like, it still has the kind of church organ kind of sound in a way, and it has that kind… – you were mentioning that kind of crescendo at the end – the kind of big, bombastic crescendo and stuff. Which, I don’t know if – this is how I interpreted it – but it seems like that’s going to work as a transition, perhaps?

Well, yeah, maybe. I suppose I’ve just taken it on a little bit, you know? I suppose it still is me. [Laughs] I can’t help it! So, yeah. So, I suppose it is a bit of a development but not a great departure. So, yeah, I suppose, with We Raise Bears, were there three, four years? Four years, I think, that was going, with Sharon [Murphy], one of my mates. We were also in a relationship at the time. She’s now married. I was at the wedding, though. [Both laugh] Well, the afters, so we’ve a good relationship still, like, you know? But, for four years, that would’ve been…even from the start of that to the end of that, that would’ve been a development, ‘cause we started off, just the pair of us, just on a harmonium and a guitar, an acoustic. By the end, we had a band around us and it was…I guess I was only on the electric guitar for all the gigs and I was hoping…this is then another development from that, I guess, because I’m going into rehearsals with a band, starting on Saturday, and I don’t think there’s going to be an acoustic guitar in the whole thing, so. I’ll be on the keyboards mainly, for half the set, then I’ll be on guitar for the other half. So, I guess it’s another development on from that, you know? And then, for We Raise Bears, like piano is set as my main instrument but I would never have played that live; it would’ve been Sharon mainly doing that. And now, for half the gig or even most of it, I’ll be on the keys, like that [Mimes playing double-stacked keyboards] and singing. So, top and bottom, you know? [Both laugh] So, I’m setting up the whole thing now. There’s going to be, like, four keyboards, ‘cause there’s a couple of others who are going to be playing as well, like. So, it’s going to be very…yeah.

Seeing as keyboard was your first instrument, is that…I don’t know, is that more comforting to you?

Yeah. I find I can do complicated stuff and still sing. Like, guitar, I’m grand, like, you know? It is very intuitive as well, how I play and sing. But to do the guitar parts I want to do, while singing, I can find quite challenging, where with keyboards it’s a bit easier. But it’s just, on this album, there’s so much…I recorded most of it at home, during lockdown. I was living on my own in Crumlin and I just set up the house as a recording studio. So, I had keyboards set up all the time. There’s a lot of keyboards on it, like. Like, all the piano, I recorded at my parents’ house, on the piano that I grew up playing. There’s loads of piano that I have, then lots of sort of plugin organs. I also have a lovely synth – a Dave Smith Prophet – and that’s all over the album. And, on “Father’s Day,” it’s on there in a few different parts. Even, on that song, for one of the verses, it sounds like a drum machine. It’s not; it’s me on my Prophet. [Both laugh]

Yeah, I mean, I was talking to a bunch of people over the last couple of years and it seems like a lot of musicians had to kind of become engineers in a lot of ways, too. Did you have a background in that, prior to this?

I taught myself totally that. Like, when we started the We Raise Bears stuff, I got an old copy of Cubase and I just taught myself, basically. And I use now, whatever the latest version of…I still use it! I seem to be the only person still using Cubase! [Both laugh] But it’s just what I learnt on. Because, like, Pro Tools is the studio one, but I just, I don’t know…and I have Ableton Live now, for live as well, so that’s going to be…So, they’re the two I sort of taught myself, Cubase and that. But, yeah, it was just sort of absolutely self-taught and I would’ve edited it, a lot of the album, and I think that’s just the way it needs to be from now on. Because studios are still important, and I did use one for drums and strings, and everything else I recorded myself. And a guy – his name is Christian Best; he does, in Cork, he does Mick Flannery’s stuff – he recor…he mixed it, then he recorded the drums and the strings, and he mixed the whole album, and he did a great job. So, there still is a place for that; like, mixing is a very particular thing. But I think recording at home is the…because it’s so relevantly inexpensive and to the same studio standard of, say, ten, fifteen years ago, you know?

Plus, there’s no time restraint, really.

Well, that’s what…I found, like, when we did the We Raise Bears EP, we did everything in the studio and I found, my vocal, I didn’t really like it afterwards because I was under pressure. But, for this, I was singing anytime of the day or night. I just relaxed. If I didn’t like it? Grand. Delete it or just put it down and do another few takes. It was just so much more relaxed, so much easier. You could just get what you want. You could really, really sculpt things and do it that way. But it’s just that…I guess on music courses, I’d hope…like BIMM,  I know there’s music technology parts of it because it is very, very important and it is…if you want to write your own music in any genre, I think you need to be able to record it now. And it’s like, you can get a decent mic for two-hundred quid, get a program for a hundred quid, like a basic…like, you can get REAPER for less than that, and then, there you go; you’re ready to go like, you know?

Yeah. I found it really interesting, like you were mentioning….everyone I talk to, who self-produces, always have their own unique, idiosyncratic method that sometimes can be antiquated or sometimes can be very cutting-edge, but it’s like, just kind of whatever works, and I think that…any kind of conventions on how to record is sort of gone, in a way.

Yeah. Like, I still…I dunno. Like, there is still a lot of potluck in how I do…like, when I’m recording an acoustic guitar, I’ll stick the…I have like a Neumann KM 184, which is great, and I’ll stick it maybe six inches from the twelfth fret and hope for the best. [Both laugh] ‘Cause like, when you’re on your own doing it, you’re…to go in, track, and listen to it all, change, change; you do that a little bit. When you get it sounding OK, like, “That will do and then I’ll fix it around a bit after the sound,” you know? But yeah…there is, for me, a little bit of potluck with that. Like, I gave up trying to record guitar [in] stereo. The amount of phasing I was getting, it was ridiculous. That’s like a talent in itself, trying to record in stereo. So, I recorded everything in mono, and, what I did with the acoustics, I’d do a load of takes, and I’d pan…I’d take my two favourites – might have to comp them a bit or whatever – and I’d pan one left, one right. And they’re played well – they’re perfectly in time together – and it just gives the impression of stereo, even though it’s not, technically. So, little things like that I did, you know? They seemed to work for me, like.

Talking about your new single, “Father’s Day,” it’s about parental care, but it’s also about…I don’t know. I thought it was really interesting, because you’re tackling the issue of the court system in Ireland and its sort of bias against fathers in paternal court…

Well, it just seems to be stuck in the past.

Yeah.

I wouldn’t even say “bias against fathers,” because there’s a lot of mothers who can’t have a job and can’t have a career and stuff like that because the system says one parent should have sole responsibility and the other parent, effectively, borrows their child every week or two, you know? And, you know, it just seems to be that the system is so far behind where society has moved.

Yeah, I agree.

Because I do know someone, she’s a single mother, and she has her child six days a week, the father has one. And the child’s now eight. Now, she’s gone back to college and everything, she’s quite a special person, but she hasn’t been able to have a proper job in seven years, you know? And she thinks it should be automatic joint custody and, yeah, it’s coming from that sort of thing, you know? That side. And it is, it’s very frustrating when your son is born and you realise, you’re not even his legal father. And, when he was about one-and-a-half, we got these forms signed to become legal guardian. But I’ve heard some horror stories – like a guy I spoke to recently whose child was taken away to Scotland; he never sees the daughter anymore. He doesn’t even have legal guardianship, like, you know? And the only way to fight…you’re caught in a bad situation, the only way to fight it is legally, but it’s so expensive. It’s prohibitively expensive. We’re talking about – if you get a family lawyer – you’re talking five grand, you know what I mean? Just to get a few things done. And, for the vast majority of people, that’s not possible. And the problem is, you shouldn’t be in that situation in the first place; the system should very much value both parents and it doesn’t at the moment. And I have spoken to people in the legal profession about it, who are in this, and one lawyer told me recently that she had a client who looked… – who’s male, who’s a father – who looked after the kids more than the mother did, so they went to court, looking for joint custody – because obviously, under the law, he was a legal guardian but not a joint custodian – and the judge said, “No. I wouldn’t want to inhibit the rights of the mother,” and she was like, “But he’s looking after the kids more than the mother.” It’s just this sort of system. And it’s even how it works. You go in and the judge hears five minutes and makes a decision that affects a child for the rest of the child’s life and it’s just such a messed-up system. But gladly I think they are changing it. Family Law Court [sic], there’s a law coming in…a new law’s coming in that’s changing the whole system, that’s going to put only judges who are only dealing with family law to deal with family law. Where, at the moment, you have a judge who might have a speeding ticket case and then they’re deciding a kid’s future! [Laughs] It’s just so messed up! At least I think they are changing it but there’s nothing coming in for, let’s say, father’s getting legal guardianship once the child is born if they’re not married; they’re just changing the institutions. But, yeah, it’s very…like, I heard about it before I had a kid and I had known a couple of people affected by it but you don’t really pay attention to it and then, when you’re actually stuck in it, it’s like, “Hang on. This is a load of bullshit.”

Right.

You know, like? [Laughs]

It’s archaic and it’s very…I don’t know, it seems to predate, I think, kind of egalitarian laws in this country.

It’s like the two big referendums, the 8^th Amendment and marriage [equality]. It’s like, they happened but they could’ve happened fifteen years or ten years before. It seems like that. Like, the laws and institutions are just miles behind society.

I agree. I think there’s a stagnation there that’s far behind what, I guess, general consensus is, and I think that’s always been the case.

And they could do other things as well to help it: they could increase paternity leave, even if people are married and stuff, just to try to…It’s to improve or increase the expectation as well, in society, that fathers have…I think lockdown did help with a lot of fathers at home. Now they’re like, “I don’t wanna go, spend five days in an office and miss my kids and only see them on Saturday and Sunday, apart from an hour every evening,” you know? I think that sort of may have sped along the process, as well, like, you know?

And I think, at the moment, it’s sort of up to the individual company to deal with paternity leave. It’s like, I don’t know. I think there should be, definitely, laws coming in about that.

Yeah.

In terms of… – bringing it back to the song – in terms of how you express these feelings and frustrations, you kind of go through a somewhat verbose examination of, I guess, genetics but, from there, it spirals into…I think, like, it seems like a very hopeful song even in the midst of…It’s very swirling, emotionally, and it seems kind of, I don’t know…the lyrics contrasting the music in a way, where the music, to me, can be…I think it’s very beautiful but it’s kind of dower in a way, as well.

The music?

Yeah.

Alright.

Sorry, this is just my interpretation. [Laughs] But it feels like…I don’t know, it feels like a hopefulness rising through it all.

OK.

Do you think that’s fair?

Lyrically, you mean?

Yeah.

I suppose the whole lyrics about that, they’re quite frustrat…well, like, I suppose all my lyrics would be like that; they’re not just like…I do try to…in the whole album, that comes out in here, there is a lot of hope in the whole thing. So, I wouldn’t have said that song, but there definitely…like, going back…just the album, the last song on the album, is basically one line but there’s five minutes where, musically, it goes all over the place. Well, there’s an influence of Gilla Band at one point. [Both laugh] But there’s a really hopeful line at the end of that but that’s throughout the whole album. That particular song [“Father’s Day”], I suppose what it started off, like, you know…I guess Guy Garvey from Elbow was, lyrically, a big influence because I love the way he can take a real normal, everyday thing and just elevate it to something higher. So, em, I guess the first line, “I’m the second of my father’s brood,” like I’m…I have two brothers, I’m the middle. “Same graceless gait,” that’s sort of taking the piss out of myself, the way I walk. [Laughs] Like, I walk like my dad, you know? And then…it’s hopeful, like. I think it’s more lyrical.

The hopefulness I interpreted came from, I think there’s a real weaving of love for your child there and I think, with that love, there does come, I think, a knock-on of hopefulness in the sense that…I don’t know. It seems like you’re not letting it get down to the extent where you’re being bitter about it, I guess, that would be…

Oh, yeah. I think it would be about just keeping going and dealing with the situation, and he’s the most…my son’s the most important thing, like, you know?

Of course.

So, things like…there’s a line before the big guitar solo, “Blow a kiss, then hurry home,” it’s just like, “Fair enough, I’m going home on my own but I’m still going to give you a kiss.” [Laughs] That’s what we do; every time we leave we…[Puts index and middle fingers to lips and blows a kiss] we give each other a kiss, like that. And then, obviously I might go off, feeling a bit sad, going home but, you know, you just deal with the situation. There is that in it as well, you know? Yeah. I never really saw that but…But, yeah.

In terms of the concept for the music video surrounding it, I thought it was very good. How much involvement did you have with the music video?

The director’s called Michael-David McKernan and I got his name through a friend of mine, who’s an actor, Gerard Kelly, and I just got his name through him. So, we met a couple of times. I had this idea for a video, but it wasn’t very practical. I had the idea that I would be in a classroom and there would be kids around and when it gets to the big solo, shit starts happening. And then we decided that it’s not very practical to have a load of kids in a classroom. [Both laugh] So, he came back with this idea – he sort of took that as a blueprint – and he came back with his idea, he said, “Well, there’s a father and a child.” He said there’s a field near where he lives in Meath. He said he could set it all up and it’s all symbolic, everything. So, then, I think all that…I think all the piano and everything, that represents all the institutions, all the obstacles. So, they get very frustrated and then decide at the end, well, they’re just there, they just have to deal with it, the obstacles, and, you know, the most important thing is their love for each other and that’s sort of…it’s sort of completely in-line with the song, you know? So, I sort of had the blueprint but really it was Michael-David that came up with the idea in particular, and I wasn’t even there when he filmed it and I was happy with that. I sort of like the idea of just…he sent me a treatment, like, “This is what’s going to happen, scene-by-scene,” and I was like, “Oh, that looks good” and then you’ve just got to trust someone because I’m not a music director, you know? Not at all. And it’s nice to…because, with the music, I wrecked the mixing engineer Christian’s head with, “Alright, this needs to go up 2 dBs from this bar to this bar,” you know what I mean? It’s like micromanaging. He said the amount of revisions he had on the mix, he said he never had so many in his life! [Both laugh] So, it’s sort of nice just to let go as well, with the music video. I did that with the next one as well, which was shot two weeks ago, I think. They shot it at the Project Arts [Centre] actually, and I just left them to it because I just basically trusted both of them. A drag artist, Doctor Count Evil, and Michael-David and I think he had a cameraman – the three of them were in there – and that was it. I just left them to it, like, you know?

So, you’re content to just let it be their artistic expression, then?

Yeah, yeah. Like, I think…I told them, like, I sent them both just, “This is what the song’s about.” Like, the next song will be more about what’s called anxious attachment in a relationship; like, finding it tough to be in a romantic relationship. So, it’s about that, so I sort of left them up to it. I said, “That’s what it’s about. Off you go,” and Michael-David said it went well, so I’m waiting to…I say in the next couple of weeks, I’ll get the first draft. And even the last time, with “Father’s Day,” he said, “Do you want any revisions?” I was like, “No, it’s grand!” [Both laugh] So, that was the first draft of the video. So, it was like, “No, it’s working. That’s perfect,” like, you know?

That’s great. You mentioned that you’re a schoolteacher. How do you kind of weave doing the music with the job? Because I think some people…because I have friends who do teaching and you kind of realise how time consuming it is than what people would assume, because I think a lot of people think it’s a nine to half-three job or something like that.

Yeah. Well, like, for me, it really depends on the time of the year, in terms of…let’s say around exam time, there’s so many corrections. When I was in We Raise Bears, I wouldn’t have been fulltime teaching but I am now. I need it now as well because I’ve bought a house down in Gorey to be…well, my son’s down around that area, so I moved there last year, so I need to be earning fulltime now. [Laughs] But also, the music is very expensive, if you’re paying for videos and stuff like that. I don’t know how I do it. I think organisation is a big thing; I’m really organised with work. So, I get all of my stuff planned at a particular time every day. I’m free most evenings to do a few hours music, like, you know? In terms of gigging and that, it won’t be happening for a couple of months. So, you know, I have, let’s say, I play cover…in the last few years, I depped in a wedding band and stuff like that. Like, that can be a bit stressful. I was fulltime in that, but then I went – because I was a fulltime teacher and fulltime at that – but then I went, “No, I’m only depping out.” There was one September where I had, like, eight gigs and I remember, one Thursday, I had a wedding in Bantry. So, I went from school, working full to, whatever, four, down to Bantry, four-hour drive, did the gig, four hours back, got back about four in the morning, in school at nine o’clock. I was like, “I can’t do this,” you know? But personally, I think there is still a lot…like, I have three months off in the summer, you know? I’m off midterm now. Two weeks…well Christmas is different because everyone is off, but two weeks Easter. But even outside of the holidays…well, that gives time for things like recording, you know? So, you can really focus your recording in those times, when you need to be fulltime. But things like gigging and stuff like that, to be honest with you, it’s OK, like, you know? And even when it comes to gigging around Ireland, like, it’s not that big a place and you’re not going to be down in Cork once a week, you know, doing a gig, like, you know? Like, there’s the odd time when you’re back at three in the morning and you just suck it up. It wouldn’t be a regular thing, like, you know?

You were mentioning that during the summer would be a good time to gig but I was actually just wondering – this is just a question that came into my head – but are you a secondary school teacher?

Yeah.

So, would you supervise the Junior or Leaving Certs or anything like that?

No, no.

So, no, you wouldn’t do that?

No. A lot of people do it for money, but no. I’ve never done it, never will. And I certainly don’t correct. [Aaron laughs] No. They’re the two options you can do, but no. I also now – because of my son, to be honest with you – because we did week on week off last summer, I just want to spend all the time with him, when I have him. So, to be honest with you, it’s more that now than anything. But, also, I don’t want to. [Laughs]

I guess the last thing I’ll ask is, you have an album coming out; it’s called Thousand Yard Stare.

Yeah.

I was wondering if you could just talk a little bit about the writing of that and the recording because…was that recorded during lockdown?

Yeah. So, there’s eleven songs on it. It would’ve been all written…basically, I broke up with my son’s mother and we found out a month later she was pregnant. And it was in around that time – the pregnancy and after he was born – that all of this was written. Then, when he was one, lockdown happened. He had just gone one, and I basically had all this music, so I recorded it all. So, really, it’s very personal, all of it. Most of it’s about just what I was going through: breaking up with someone you’re in love with, then finding out you’re going to be a father, then being in the situation of “God, you’re an unmarried father in Ireland,” but there’s a lot of hopeful stuff as well, looking to the future and all that sort of thing. So, it was really…yeah, all written and recorded in that very traumatic time. So, there’s eleven songs on it, as I was saying. They’re very, very personal. Like, I wouldn’t…next album, I’m going completely away from this; like, I’m going to go back to sort of more political, observational, you know, and just more minimal…like, the arrangements as well on this album, they’re quite lush. There’s lots of strings – I wrote loads of strings for it – there’s lots of brass on it, you know, so it’s quite a lush, very full sound on everything. Whereas, next time, I want to minimise it; just have like more drums, bass, guitars, a little bit of synth and just sort of, you know, have a more minimal thing. I thought the arrangements did suit the subject matter and the lyrics because they’re so dramatic, personally, to have dramatic music kind of suited it! [Both laugh] So, basically, the next song will be “Thousand Yard Stare,” then there’ll be another release in May, for a song called “Lost Honeybee,” which is a pure breakup song. There’s going to be an animation video with that. So, I’m working with an animator on that and, yeah, she’s great. Her name is Lisa McDonald and she just…well, she finished at IADT a year or two ago.

Oh, my alma mater! [Laughs]

Oh, really? OK. But, yeah, she’s really good. So, they’ll be…before the album’s released, including “Father’s Day,” there will be three videos for three singles. I think the album…I haven’t a date yet but I’m thinking August sometime. Because I need to order vinyl, so, there’s a big backlog. Now, I’ve been on to a few places…so, I would like to have them by the release but there may be a bit of a delay afterwards, like, you know? Because I know, in Ireland, Dublin Vinyl’s completely stopped taking orders. For places in England, there’s about a five-month waiting list. So, August will be the release and, yeah, we’ll see how it goes like, you know?

Yeah, I’ve heard absolute nightmares from people self-releasing vinyl.

Yeah. I’m going to do…because I think the artwork…actually, I’ll talk about the artwork because it’s great. It’s an illustrator called Enagh Farrell and she did, like, you know, the penguin imagery. Oh, the idea of the penguins, by the way, because her thing is animals, so she had this thing…she had a crow head on a person and I thought it was brilliant, so I was like, “Can we do something along those lines?” So, we talked about it, and it was this whole paternal thing of the emperor penguin, so that’s why we went with the penguin.  I’m going to get a booklet done up as well with all the lyrics and all. There’s an illustration for every song and…so I think I’ll do CDs as well as vinyl because it looks so good.  So, I’ve been on to a graphic designer about just putting that together. So, that’s going to be the plan anyway like, you know?

Perfect. Is there anything you’d like to add just before we wrap up?

Eh…no. [Laughs] I think I’ve said an awful lot!

Alright, thanks very much.

Thank you very much.

Conor Miley’s new album Thousand Yard Stare is expected to release in Summer 2023. The single “Father’s Day” is out now. You can follow Conor on Facebook, Twitter, Instagram and YouTube.

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.