Photo by Nick Sayers

“I don’t know if you’re pressed for time, but I can do this all night.” Across the digital table is Smittens, the D.I.Y. lifer and bassist for international D-beat black metal bruisers Calligram. The pleasant and quick-witted Englishman comes paired with a glass of red wine and an infectious sense of humor as the band’s blistering sophomore full-length, Position | Momentum, is set to be released next week via Prosthetic Records. Written entirely in vocalist Matteo Rizzardo’s native Italian, the album’s lyrics unpack a history of personal darkness and re-evaluate them with a sense of, as their press release states, “clarity, acceptance, and yes – joy,” themes that are oddly appropriate for the following interview. On this particular Friday afternoon, Decibel’s co-nerds have all the time in the world.

The conversations under the Kill Screen banner thus far have been with musicians that have existed solely on the demand side of gaming. Our latest installment, however, discovers new territory as today’s guest of honor worked previously as a video game tester. Smittens managed to experience some of the best and worst that the occupation had to offer within a span of roughly four years. Though long gone are his professional days behind the controller, his insights into the notoriously demanding and unforgiving gaming industry still hold eye-opening merit and his climactic finale at video game mega-publisher Electronic Arts is truly worthy of North America’s extremely extreme (web)pages. As brief as it was extraordinary, Smittens’ video game hero, Grim Fandango’s Manny Calavera sums it up best: “You know, sweetheart, if there’s one thing I’ve learned, it’s this: Nobody knows what’s gonna happen at the end of the line, so you might as well enjoy the trip.”

What was your first video game experience?
My sister had a Commodore 64. She was playing the old Ghostbusters game on there, the Batman game, The NewZealand Story, all of that kind of stuff back in the day. I was probably only, like, three or something and would just kind of sit there and not really know what I was doing. I’d just watch her and crack on. About five, I got really into arcade games. I grew up in the Northwest of England and every now and again we’d go up to Blackpool and they’d have loads of those amusement park arcade games. They had The Simpsons game when The Simpsons boom was on, and the [Teenage Mutant Ninja] Turtles game, and the Turtles boom was happening. The both of them are amazing; just walk around and beat the shit out of stuff. What more do you want? And then I got a NES, and then it was kind of all away.

Were there any titles on the NES that you remember in particular?
I think we got that Mario/Duck Hunt dual thing that came with it. Obviously just hammered that. Did all the stuff on Mario where you, like, run up the top, all the cool cheat stuff that you used to do. And then there’s the Turtles game. I was well into Turtles at the time. [The Legend of] Zelda, obviously. Utterly incredible, that first Zelda. I played the really early Final Fantasys. I had a GameBoy with Final Fantasy 1 on and all that kind of stuff. And then there was a football game—soccer, or whatever, for you guys—called Tecmo World Cup Soccer. It was just loads of dudes with big heads and you could do overhead kicks. Those are simple games. And it was just kind of that. And then, obviously, the SNES comes and it’s just a bit of a different kettle of fish. It starts to really blow your mind what you can do. With six buttons! Fuck!

Throughout the ’90s, just the leaps from console to console: 8-bit,16-bit, 32-bit, 64-bit, 2D, 3D, FMV [full motion video], everything being explored and how it was the Wild West in the ’90s and all utterly mind-blowing. Don’t get me wrong, I [Michael] still keep up with them and you can still even see a difference between PS4 and PS5, but it’s not the same.
Not at all. And I think, you saying that FMV stuff, the first time I saw that, I was like, “This is a film!” And you have the era of the interactive games. It feels like they’ve started to make a little bit of a comeback in the indie scene. I just loved all of that. I was well into it. I remember as well, I got really into Amiga. My mate had an Amiga. Obviously that was different because you’re doing the floppy disk stuff. That’s where my love for Monkey Island and adventure games, like LucasArts adventure games, that’s my shit. I’ve got a Grim Fandango tattoo. That’s totally what I’m into.

There was a football game, Sensible Soccer. And then they did Sensible World of Soccer, which is, for me, the greatest football game ever. Top down, proper old school. Maybe you’ll have to search after this, but it’s an incredible game.

What have you been playing lately?
PGA Golf. [Laughs] I love a golf game. Me and my housemate, we’ve lived together since he was 16, so this is 16 years now. We play the majority of stuff together. So, either we do a lot of racing stuff, like Gran Turismo or Need For Speed. We play a bit of FIFA, but not too much. Obviously the new [Call of Duty:] Modern Warfare, we hammered that for a bit until we realized it was crap. [Grand Theft Auto] is great. We do a lot of “pass the controller.” We’ll do all the Resident Evils when they come out. Days Gone, when that first came out, I remember it got hammered in the reviews. We were just like, “Fuck this, we’ll get it anyway.” I remember the initial trailer, the E3 one, where it’s all that horde running after you. I was like, I gotta buy this game. And it was amazing. And I feel like that’s having a moment now they went free on PlayStation Plus. We’re doing the new Dead Island, which I’m not really that bothered about, but it’s fun in bits. Ghost of Tsushima, I really enjoyed that game. I’m not really a graphics guy, but that was probably the most beautiful game I’ve ever played.

And stuff I do by myself. I do a lot of indie adventure games if I get a rare bit of time to myself. That Disco Elysium game. A friend of mine recently told me that I’m a virgin for loving that game, so that’s fun. [Laughs] I’ll take that. I love that game so much. I was like, “This lead guy kind of lives his life like me, he looks a little bit like it. Fuck it, this is amazing.” Some drained-out ex-cop that’s just getting fucked up all the time, I was like, “Mate, I love that life.” [Laughs] I really enjoyed that game. I thought it was a modern masterpiece.

Teenage Mutant Ninja Turtles and some of these adventure games that you mentioned are seeing a resurgence. Have you played Shredder’s Revenge or some of these newer point-and-click adventures?
Not really. I’m as bad at this with my records as with computer games. I’m like, “I’m just gonna complete Monkey Island 1 or 3 for the 100th time again.” I do feel like I need to explore that side more. The adventure game stuff, I love it and I kind of wish I had my own PC to dig into that because I feel like there’s a lot of games that are knocking about on Steam which I just can’t get my hands on at the minute.

It is hard to make that jump over. You’re interested in new things and you want to try some of these new things, especially indie stuff. I [James] can’t tell you how many times I’ve completed Resident Evil 5 or 6. It’s just so fun to jump back and do a run through on those.
I got to say, though: Resident Evil 7, I was so scared I couldn’t play it if I was in the flat by myself. Mate, it was so scary. We nicked it up really late as well. There’s a place called Computer Games Exchange, CEX. We went down there and we’re just like, “Oh, there’s a new Resident Evil out.” We didn’t even know, so we just got it. And the guy was like, “We got a VR thing. You can do it on VR.” And I was like, “Fuck that.” I was bricking it playing it. However old I was when that game came out, like, 32 or something, I was scared shitless then; imagine doing it in VR?

So, you’re not so into the scary games?
No, I’m into them; I’m just fucking scared of them. [Laughs] You know that Terrifyer 2, that slasher horror film with that clown serial killer? The missus over the weekend was like, “Right, let’s watch it.” I was stood in the doorway and I was like, “I just don’t want to watch it.” We’ve been going out over 7 years, she was like, “I didn’t know you were like this.” I was like, “Honestly, I saw them fucking trailers. I do not want to watch that weird clown.” And then she made me watch it. Luckily it’s, like, an ’80s slasher throwback. So, I was like, Aw, man, I can watch this shit all day. She was bricking it because there was some girl there with no face is trying to cry while her mom comes in or whatever—spoiler alert, sorry. The trailers felt it was more like, “There’s a weird bloke there.” It’s the more psychological stuff. If you do the psychological horror really well and they just build it up for ages until anything [jumps] out, when it does… Cor blimey. That’s game over. Resident Evil 1, when the dog jumps through the window; that is the scariest moment in computer game history. And even when I did the remake when I knew that it was coming and it still had me. Resident Evil 2, when they’ve got the one-way mirror and there’s a fucking licker on the other side and you’re just like, “Oh, fuck this.” But I love that stuff.

What do you think was the last big turning point in gaming?
I would say online on consoles. It always felt like a PC thing, and then it got to this point, probably Call of Duty: Modern Warfare 1. You’re playing online, giving people shit on the headset with all your boys in the lounge with you. You’re giving each other shit, you’re giving someone shit on this headset that lives in fucking Arizona or something. Remember the first time you started using the Internet? You’d be in a Yahoo! chat room giving someone shit or talking to them about Metallica or whatever. Just all this shit that you could never do. I felt like Modern Warfare 1, for me, was like that moment where it was like, This is cool. This has totally opened up the universe.

Were you always interested in working in the industry eventually when you were younger?
Once I realized I couldn’t play football—I definitely wasn’t good enough—I was well into computer games. That was my next thing, that and music. I was lucky enough to have a sister that was nine years older than me. My dad especially grew up on Pistols, Sabbath. He’s a massive Lynyrd Skynyrd fan, so I’ve seen Skynyrd a lot of fucking times. He grew up around that. And my sister, I remember the first time I heard [Green Day’s] Dookie, she was taping it off the radio.

Do you do work experience in the U.S.? When you’re in high school [in the U.K.], you go work somewhere for free for a week and then that teaches you about life.

We’ll have internships, but that’s typically more for college. You can seek that out in high school, but it’s not the most common thing.
Ours is, you have to do it. You’re, like, 15. These poor sods, so many people, they don’t know what they want to do. People are getting to have to work at the super market, or an accountant, or some paper warehouse, or whatever crap. Making cups of tea, doing shit, basically. Mine, they were like, “Computer game tester.” And I was just like, “Fucking yes, mate. I love that.” I moved down south to a place called Camberley, just outside London. But it’s near to Guildford, where a lot of the developers were. There was Bullfrog [Productions], Lionhead [Studios] and then this place where I went called Mucky Foot [Productions], who did a game on the PC called Urban Chaos. It was super ahead of its time. You’re a Black female cop roaming around the city, saving the world. This was in 2000 or something. It was a full, proper release—a proper shooter—but it was more on the cooler, indie game side of things. I went there for a week; I just fucking loved it. There’s all these cool, older people than me. At lunch time, they’re just on the LAN [local area network], we’re all playing Counter Strike with each other. They had a Winamp thing, so you could just plug into anyone else’s records. I’m just listening to shit that I never heard. My boss—the lead tester—she was just well into goth and stuff. I’m 15 in there listening to fucking Ministry. I’m just like, This is fucking amazing. Probably not a hot topic at the minute, but the first time I heard “Du Hast” was in there. I was listening to this fucking German band doing this crazy shit. I’m doing that, and I’m testing this game. It was called Startopia. It’s this space kind of thing where it’s like Theme Hospital, but in a space station.

So, I did that. I was there for a week. I loved it. Everyone was super nice to me. It was a proper developers. When you’re growing up and 15, you don’t really think that’s what shit’s like. You go there and you’re like, This is fucking wicked. I worked my ass off, had the best time. They were just like, “We’d employ you now if we could, but you’re 15, so we can’t. Just give us a call when you’re 16 and see if you can do a little bit. And then at 18, if you don’t go to uni, let’s go. If you go to uni, you can still do stuff with us.” They’re amazing. Unfortunately, they shut down—as a lot of developers do—but a lot of them moved to Lionhead. So, I went there. I did a little bit there when I was younger. I worked on Fable. I think I’m credited on Fable. That was super cool.

What all does a game tester do?
It depends where you’re at. I’ve worked both sides. I did the developer side and then we can go on when I went on to the dickhead publisher bullshit.

As a developing tester, no one really told me what to do. It’s that kind of DIY punk rock places. It was more about “look and feel” than “break this shit.” Stuff like Fable, I’m pretty sure when I did it there was no lock-on targeting system like Zelda. I was like, “Why don’t we have this?” And then it’s in the game. That kind of stuff is cool. And I’m sure someone else would have pointed that out or some programmer or designer would have come up with it. I was probably lucky I was the first one to get the early game.

Do you just write that all down and then you submit notes after a couple of days of playing?
Back then, pen and paper, and they’ll probably just do it at the end of the day. I think on the design stuff—especially when you’re a tester—it’s not really my job to tell you if you can make the story better. I can suggest stuff, but this is their baby, not mine. It’s more like, “As a gamer, what would I feel people would enjoy more? What’s it missing?” You kind of do that side. It’s a fun side. Honestly, you can be on fucking acid and do it. You’d probably find out some good shit that wouldn’t find if you weren’t. So, that’s a really fun way to do it.

And then you go to one of your big AAA places. I was at Electronic Arts for nine months before I got escorted from the building. I was 19, I was just keeping it punk. [Laughs] When you go somewhere like EA, you’re getting up to deadline. You have a certain team that check for all the PlayStation or Nintendo whatever; whatever the rules are. They’ll be whipping in and out the memory card at loading points, all those kinds of technical fails. There was a lot of us. You join for an open day. You go there and there’s, like, a hundred of you doing a load of tests. They whittle you down and they’re like, “Oh, you’re lucky, you can come test these games.” There was probably 120, 130 testers there. We worked shift-basis; 24 hours a day games were getting tested. It was serious shit.

Do you get a task list or do they sit you down and say, “Play this chunk”?
Your boss would go, “Today Smittens, you’re doing whatever level. This is what you’re looking for and this is your checklist and you should go through this bit by bit.” Obviously, I was like, “Fuck that, I’m not doing that.” So, I’d just go and do shit. [Laughs]

You get really competitive with the other people in the office. There was a couple of other guys I knew from the South Coast hardcore scene who also worked there. That was really fun. They just turned up like I did and just needed a job, and computer game jobs are fun. It gets really competitive in there. I like not to be competitive because when I am, I’m a dick. In general, I like to be super chill and have a good time. But that got really competitive. It was me and two other guys that were like, “Right, we’re the best three testers here. Who’s the best?” You’re doing stuff to the detriment of the games. You play these games so much. I was doing 12-hour night shifts at one point. It’s all you know. Do that, you come home, you go to sleep, you wake up, you go back and you’re hammering. When you get a new build, I’m like, I know where the programmer’s gonna fuck that up, because I know what bugs have been put in on the previous builds. If they’ve gone to fix some of it, there’s a chance they fucked it up.

They have a grading system. “A” is full-blown crash, to “E” or “F,” which no one really cares but people just put that in. To some people, they’re like, “You haven’t put enough bugs in today.” You’ve got that kind of pressure. It’s like being a parking warden, having to give out a certain amount of tickets. It’s bullshit, but it’s Electronic Arts; of course it’s bullshit. So what you start doing is going, On this build, I’m gonna put this bug in, which is a “C.” I reckon when they try and fix it, he’s gonna fuck it up and it’s an “A.” And then I’ve got that “A” over the other guys. And we just used to be like, Every build, who got the most “A”s? Because we just wanted crashes. That’s all we wanted to do. Which is also good for the developers; it is good when you’re actually doing it for the benefit of the game. All I wanted to do was break it. But also, then sometimes you break it, the builds have to go to Sony, say, tomorrow, so you’re just up all night, all day. Everyone’s doing it. The coders are having a breakdown because they haven’t slept for about four weeks. They think the build’s final and then some dickhead like me—some 19-year-old with a mobile—is just like, “Yeah, I broke it, mate.” And they go, “Fucking, mate, awww god!” But it’s alright, I don’t mind taking a bollocking. Especially because usually they’ll feel bad later and buy you a beer. But you just get hammered. I was pretty mouthy back then. I’d just be like, “It’s your shitty job, mate. Why are you getting annoyed at me? You programmed it, you fucked it.” That was the kind of vibe.

At EA, I worked on a lot of shit. A lot of shit LEGO games. LEGO Bionicle I did. The first game I did was called Galador, which was so bad it never came out. Sony refused to put it out, it was so shit. I also did Looney Tunes: Back in Action. I did some serious night shifts on that. TimeSplitters: Future Perfect, which was amazing. We did the E3 demo for that and that was really fun. That was cool. Ten of us got to do that. We also did a few of the FIFA games. If you look in the FIFA geekdom world, a few of the ratings of some of the players are really off. And that’s because us lot were just making it up. It was getting developed in Canada and then they were just letting us do it. They were like, “Does it feel right? Are the players the right ratings?” So, we were just making it up. We’re just like, “Nah, nah, right, he should be, like, a 95,” even though he’s probably a 70. Some of them got in the game because they didn’t have a clue.

So, you’re no longer working in the games industry?
No. We were all on these temporary contracts so they could get rid of you when it’s quiet. Or, like me, I was on more money than most people because I was a senior tester. One day, they just got another bunch of people that were cheaper. My boss at the time, he was amazing. He looked like Nick Oliveri. He just steams it into this meeting room going nuts. I’m like, “What’s going on?” He’s like, “They just got rid of you,” and he lost it. I was like, “Right. Fuck these dickheads. I’m going out with a bang.”

At the time, I knew the IT guy, so he gave me the best PC and Far Cry 1 was just out. I got Far Cry looking spanking, like I could never get at home. That’s what I did on my lunch breaks. Someone deleted my save on it. I emailed the global EA email, which at the time I didn’t really realize how… annoyed people might get if you use that, especially to do something not very nice. So, I didn’t think on that and basically just said I wasn’t very happy about who deleted it and I was gonna do something to their firstborn. [Laughs] And sent that on the global email. And it hit. This big, old office—you’ve got so many people in there—you just heard it just go whoosh, dead silent. And then emails were coming in, people being like, “Smittens! Fucking yeah!,” all this shit. And then an email comes and goes, “If anyone else responds to that, you are sacked on the spot.” And then security came and got me, walked me off. I got in my car—I had a lovely ’76 Beetle at the time—put on Leftöver Crack Mediocre Generica and steamed off really fucking loud, and was like, [raising two fingers] “Fuck off, see ya.” That was it.

I did mobile phone game testing after that for a bit while I was touring. Remember when the N-Gage was out? That horrible, horrible, horrible thing. I was doing it on all those old shit phones, when games first started coming in. You had to change all the SIMs all the time. It was a real pain in the ass. It was fun though. The people there were fun. I basically just worked jobs and went on tour until… well, I still do, I guess. When I was 30, almost 31, I mistakenly fell into a music job. I got to work in music as well. It’s been fun. I stuck to my guns and I managed to do computer games and now music for work. Live the dream.

When you were testing games, was it enjoyable while you were playing them or did it hit points where you were like, “This is just a job”?
All the time it was like that. You’re just doing the grind. Especially when the game’s rubbish. But we had a bit of a crew when we’re on shift together. There’s those 12-hour day shifts, we’d get an hour for lunch and we’d just go down to the pub and just get steaming and then just go back and then you just go do another 8 hours of playing computer games. That’s kind of how we got through it. And then on the night shifts, we had Pro Evolution Soccer, which was the banging football game at the time. Even though we worked for EA, none of us played FIFA. We had Pro Evo tournaments all the time. We just finished doing Soulcalibur—I think Soulcalibur III or II—so we’d have loads of Soulcalibur tournaments. That was kind of fun to pass the time.

But imagine: There was a lot of Harry Potter games getting tested where I was. I managed to avoid most of them. That Quidditch game they did? Those poor guys were on that one forever. It isn’t even a real sport! What are you wasting your time on?

How much time would be typical for testing a game?
It would be months and months and months. Because those deadlines for those big companies can’t move—so much is on that train in that big process—it had to get done. There was always people working in there. It never stopped. They would have 40 testers at least, and that’s just that U.K. office. Us testers had our own building. We weren’t to fraternize with the others if they were doing in-house stuff and they had the programmer and the design team. Also, just so you know, if anyone in the industry is reading this, if you work for Electronic Arts as a programmer or a designer or any of that developing stuff, you’re a massive sell-out and you should feel shit about yourself every day. Just so you know. Because of how they treat people! They probably get treated the same, but obviously money talks and I get that. We were over the road; it wasn’t like we were in the next building. Over the road, over a roundabout, round the corner and then it’s just a load of testers in this thing.

Keeping the riffraff out.
Yeah, mate. 100%. And you know what? I can’t blame them. Why would you want me in there? [Laughs]

“If anyone in the industry is reading this, if you work for Electronic Arts as a programmer or a designer or any of that developing stuff, you’re a massive sell-out and you should feel shit about yourself every day.”

Did you encounter many people that had similar music tastes?
Yeah, a few. Everyone from every walk of life and age was in there. You’d get guys in there that were in their 40s that probably just lost their job somewhere and needed something just to get by. They wouldn’t even be gamers. You’d just have whoever in there. And then you’d meet cool dudes. I remember this one bloke and he was probably 30, which, when you’re 19, someone 30 is actually pretty fucking ancient. [Laughs] He’s sat there, we’re talking about Black Flag and stuff together. I’m just like, “This dude’s fucking cool!” He didn’t look like he listened to Black Flag at all. Because he’s 30 and he probably was just like, “I’m just gonna wear a jumper.” You just don’t realize. That was really cool. And also, getting into people’s other stuff. Stuff I would never get into. What’s that band that does that “I hate everyone” song? Chimaira! I’d never be into that, especially back then. I was really into punk and hardcore and screamo and that. But there was a dude I worked with, he was really into nü-metal. He was always wearing that hoodie. He always used to play me whatever nü-metal stuff he was listening to at the time. I was like, “Yeah, that song’s fucking cool, man. Shows why you are such an angry human being. If you’re listening to this shit all the time, I’d hate everyone as well!” [Laughs]

At the time of this interview, Calligram recently released the single “Ostranenie.” Part of the statement that was released in conjunction with the video was saying, “Art, by making objects unfamiliar, should seek to renew our perception.” Do you feel that the gaming industry as a whole has become habitual and dull?
Massively. And I feel like that’s probably why I haven’t felt as connected to it. I’ve just seen those big AAA titles. They’re all the same. Don’t get me wrong, there is a lot of good out there. It’s very similar to heavy music. I feel like people keep on telling me it’s the most exciting it’s ever been, and I’m like, “…Is it?” I feel the same with computer games. I think when you delve down like with any industry, there’s so many subgenres and amazing bands doing crazy shit. But that top-tier level? No. Because people are too worried about making money. And that ties into every aspect of this world that we live in. That’s a global issue across everything. All genres.

Do you feel that extends into the indie scene as well?
I’m not gonna pretend to be an aficionado, but whenever I delve in, I always find something fun and exciting. I feel like, at least with the indie scene, if you know enough for what you’re looking for, you can find it. But you have to be the kind of person that’s really into it or have had a background in it, like I have, where you kind of know what you want or kind of know where to look for it.

I think what else as well that really helped me was that Indie Game film. When that came out, I fucking loved that film. That got me into those games on there. Who doesn’t love a documentary? And that is a fucking great one. Getting to see the struggle. These people are geniuses, but geniuses with no money. And the stress that goes into it on release day when it’s like, “We’re not on the front page.” That is game over, I never want to do it ever again. When they’re going through the reviews and stuff like that, they really take it to heart, which I love. Anyone who gets back to people that reviews that made a game and is like, “You’re wrong”: Yes. Absolutely. You’re correct. You made it. You fucking tell them. [Laughs] People got to see how they’re getting made. These tiny games, it’s people doing it after work that are staying up all night.

It would be heart-breaking to get to the end of that and Super Meat Boy is this giant flop and they just wasted how many years of their lives. For some of those people, it is, though. They spend years and years and it goes nowhere. It’s overwhelming to open up Steam and to just look at this front page where it’s just jpeg after jpeg of, “Game! Game! Game! Game!” You can’t just sit there and scroll through thousands of games and be like, “This one.”
What happens as well if you make a game and it’s actually amazing but so ahead of its time? Like certain records, where it comes out and people are like, “This is rubbish,” and then 10 years later everyone goes, “Oh, it’s fucking genius.” Do you know what I mean? If you’re one boy, girl, whoever that’s making this game and you’ve put everything into—all your money, all your energy, the rest of your life is falling apart around it—and people don’t get it because you were so ahead of your time? I mean, people kill themselves over that shit! This is serious. It’s a real serious fucking business. This is people’s lives and emotions that are going in there. It’s not just a game.

Are there any games that you’re looking forward to and what are some things that you’re looking for in future games?
I guess, for me, GTA, actually. The next GTA has got to be the most hard game ever. I still play GTA V all the time now online. Every now and again, I’ll have a month where I hammer it and then I have to get rid of it because basically I’m working a job when I’m not at my job. [Laughs] I think GTA VI will be big. Like when I was saying when I tested back in the day, the “look and feel” thing: I think they’re amazing at that. I lived in L.A. for a bit. GTA V, when I play it, it makes me feel like I’m living there again. It really feels like it. What is their next level of doing that?

For the sport games, they still don’t feel realistic to me. So where do they go? And is it the VR model that takes those games to another place? Because I’m not interested in VR at all. It makes me feel sick. I also really like real life. I have a good time. I play computer games to zone out and have fun and you get to do something else. But you’re doing it while sat there and chilling. Having a pizza, having a beer, having a spliff, whatever you’re doing. But then when you’re in VR and all that stuff—the meta world, universe, whatever—I’m just like, This is getting weird now. We’ve all seen those films that came from the ’80s. Did no one learn anything?

Position | Momentum is out July 14 via Prosthetic Records and can be pre-ordered here.
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