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CRAWLERS UNVEIL THE CREATIVE PROCESS BEHIND THEIR DEBUT ALBUM, THE MESS WE SEEM TO MAKE

Established in 2018, CRAWLERS has spent their year making waves in the alternative scene. From their beginnings booking local gigs in their home county of Merseyside to playing for the crowds at Glastonbury and Download, they’ve made their mark as one of the U.K.’s most compelling new talents. Now, CRAWLERS are gearing up to release their debut full-length album, The Mess We Seem to Make, set to hit all streaming platforms on February 16, 2024. 


Would You Come To My Funeral, the first single released off their upcoming debut album, is a letter to an ex-lover. Vocalist Holly Minto sings about their regrets, grievances, and lingering connection with a complicated past relationship. Her delivery dances with drummer Harry Breen’s bouncy rhythm as bassist Liv May and guitarist Amy Woodall forge a back-and-forth dialogue with their instruments. Their distinct sound comes through with a bright and modern feel, contrasting with the poignant subject of the song. 


CRAWLERS further released a second single off the upcoming album just last week, entitled “Call It Love,” through Interscope Records. The song showcases the band's 90’s grunge sound while still highlighting their contemporary edge throughout the production. Building upon the album's theme as a whole, “Call It Love” romanticizes the desire to maintain a relationship despite the situation being toxic. The song is one of twelve off the upcoming album, taunting fans with 10 more tracks we have yet to hear! 

We got to ask Holly a little bit about CRAWLERS:




Be honest: As rewarding as touring is, it’s not easy. What have been your biggest takeaways from the experience, and what are you looking forward to on the rest of your tour (and tours to come)?

 

Touring is difficult - it often is romanticized by those outside of the industry, but the reality is stark: days hidden in green rooms, [being] at service stations at early hours, reliant on meal deals and takeaways. When we got flung into touring, we had no idea the importance of mental and physical health when touring (especially as a vocalist, when you carry your instrument everywhere with you). But I’ve learned a lot of ways to make things enjoyable now, and have had the best tour I’ve ever been on in this last year! I take B12 injections so I get less sick and take all my vitamins, [work with a] vocal team, don’t drink and ensure I go and see the city I’m in, even if it’s eating at the coffee shops nearby (I like being a snob only in my taste of coffee).

 

Every artist has a different process, and each individual band member’s abilities are showcased in your work— what does songwriting look like for you? 

 

Songwriting is always a different process. I’ve learned a lot as I’ve grown as a writer – practice really helps, and wallowing in sadness and believing you have to be in pain to create good art is shite. Instead, I use those moments to journal and reflect, then use songwriting as a practice, using these moments when I feel better. Sometimes chords first, sometimes melodies, sometimes a good poem. The songs only get good, though, when the band sieve through and add their flourish. 

 

You’ve been open about the trial and error involved in creating your album and the fact that creativity is an imperfect process, and it can be difficult to suddenly be in the public eye. What do you feel are the biggest struggles you’ve overcome as a group so far?

 

Creating the album for each of us has been a personal growth. I think in [this] misogynistic industry, sometimes we feel like we have to overcomplicate our parts, whether it’s crazy vocal lines that are hard to sing, shredding bass lines or mad fills. Now we write with a clear idea in mind, and use our musicianship when it lends to the song. I think me from 4 years ago would be shocked if I said I used the four most basic chords in pop music and stayed in my comfortable range, but it means when a member gets a moment to perform the music rises to it, which I love – rather than a mess of ego, or the mess we seem to make.

 

Alternative is evolving, and CRAWLERS’ sound has a diverse set of influences. Are there any genre elements you have your sights set on for future projects?

 

We really want to do something in the world of hyperpop, we’ve always been huge SOPHIE fans but never really explored this in our music. I’ve also become a huge fan of bands like Wunderhose – the idea of relentless feeling over classic sounds is definitely something I want to try out. 

 

 

Your music has resonated with queer youth, even songs that weren’t written specifically about LGBTQIA experiences. What messages do you hope these fans will pick up on throughout The Mess We Seem To Make?

 

The album covers queerness in a lot of ways, mainly society's view of the AFAB lense and its “liberating” view of sex that really is just serving to appease men and make our bodies our only worth. Heteronormativity really aligns with hypersexuality, which I talk a lot about in the album. Sex can be liberating and amazing, but it doesn’t equate to your worth.

 

This album is your first full length release, and the culmination of your first five years making music together. What tracks are you most proud of, and how do you feel that you’ve grown as artists through your journey?

 

All of it! We have worked so hard…. I’m so glad we got to continue releasing with the mixtape, but we have been working on this whole long project since 2020. Each song has had weeks [spent on them] at least – with our fave dad (producer) Pete Robertson. 

 

I believe I End Up Alone is a stand out for us as a band, we really explore something new here; a metaphorical world with inspiration from the TV show Fleabag, in the lens of myself, and relationships and self-worth. I’m also really proud of Better If I Just Pretend, which was a breakthrough moment for Amy, who co-produced the track, making lots of the sounds herself and I feel so proud watching her grow in that world. It was also a big step for Liv, who started out with this almost whole bass solo – the whole part! Pete was a whole ass therapist, which helped Liv create one of the most iconic basslines in history – modest, I know. But I’m so proud of her, and proud to watch it all fit in.

 

Last but not least, what advice can you offer to any aspiring musicians who’ve been inspired by your work?

 

One thing I’ve noticed – and really would love to speak about – for the aspiring musicians and writers, put your blinkers on. Do not compare yourself. There are so many people who will get the leg up from their situations, so many who will get what you want, or work with people you dream of, or support your favorite band. But their success doesn't lead to your demise. And also, those of you who don’t come from money or have a family with a musical past, it will never stop you. Get yourself in school clubs to help your music, scout charity shops for cheap guitars, go to open mic nights for practicing, make a Tinder account to start a band! There is no one path. 

 

Preorder The Mess We Seem To Make here

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