Shady Nasty: ‘Making music keeps you sane.’

Original photo: @kataomoi__ / handmade collage by B

Gimmie have been bumpin’ Shady Nasty’s debut album non-stop while cruisin’ through the Gold Coast suburbs ever since we got our hands on it! But TREK isn’t just a collection of bangers or only one of the coolest albums of 2025 so far—it’s a reflection on personal growth, hard work, and the pursuit of one’s dreams, deeply rooted in their beloved city, Sydney.

For Kevin Stathis (vocals, guitar), the post-punk-meets-hip-hop album with electronic elements draws on band’s day-to-day life. ‘My dad has done solo excavation his whole life, like proper blood, sweat, and tears stuff,’ he shares. ‘About nine years ago, he was like, ‘Fuck it, I’m going to treat myself,’ and bought a Lexus,’ which to his dad wasn’t just a car (it appears on TREK’s cover)—it was a symbol of everything he’d achieved, coming to Australia as an immigrant with only $200 in his pocket.

For the band, TREK is the pursuit of their own dreams while sometimes feeling lost in the rush of life and disconnection, which we can all relate to. The tracks on TREK bubble with the energy of their suburban neighbourhoods and the everyday hustle of its people. In this in-depth conversation, Kevin, Haydn Green (bass), and Luca Watson (drums) open up to Gimmie about the making of TREK, working with The Presets’ Kim Moyes, their roots, and the balancing act of staying true to who they are while embracing change.

KEVIN: I’ve been working a lot. I’m a technician. I’m currently building speed cameras!

Wow. That’s funny.

KEVIN: Yeah. It’s very ironic considering my interests [laughs]. I only just started it so we’ll see how long it goes for. Hopefully I don’t get kicked out when people discover my true identity.

[Laughter]

HAYDN: I’m a tennis coach. We were down there this morning, actually, taking photographs at the tennis courts. It’s an interesting job, I suppose— a little bit left field.

LUCA: I work for the University of Sydney in an air-conditioned office. I’m very email-based, from nine to five.

Why is music important to each of you?

HAYDN: It’s one of those things, because we all played together in school. I suppose we had a little bit of a knack for it. If you’re told that at some point, you’re probably going to think, ‘Well, maybe I’m all right at this,’ and you follow it a little bit.

LUCA: Like, ‘Yeah, I’m gifted.’ [laughs].

HAYDN: That’s right. It’s good for your brain too.

LUCA: That’s not the fucking reason we do it though.

HAYDN: For me, I would be playing music, even if I wasn’t doing the band. I think it could be a meditation of sorts.

LUCA: Making music keeps you sane. We all do a lot of things that other people have to do in their lives, and it’s just this one thing where we can come together and do something that has no sort of pre-set expectation. We can do whatever we want.

KEVIN: It’s freedom to an extent.

Freedom—different forms of it—seems to be a big theme on your new album, TREK.

KEVIN: Yeah, it’s a good way to put it.

LUCA: Most definitely. And, ironically, I am situated at—” [turns camera to show that he’s in a car park outside of Freedom Furniture].

[everyone laughs]

TREK is an interesting title for your debut album. How did you guys get to that?

HAYDN: After absolutely spamming the group chat with options…

KEVIN: There was some bad ideas in there.

HAYDN: It was just throwing words at the group chat. Does this word sound good?

KEVIN: One day, Luca was just like, ‘TREK,’ and we’re like, ‘Oh—’

LUCA: I was on the toilet at work. How good is that? Thinking about it, because we’d been talking about it so much. Trek is one of those words we use almost every day to describe things in our life. For example, you’re talking to your parents growing up, and they’re like, ‘Oh, you’ve got to go do X, Y, and Z.’ You might be like, ‘Uggh, trek.’ I told my parents about it, and the fact that they didn’t get it—that’s not a word from their generation. It’s very much ours, from our era in Sydney.

HAYDN: You wouldn’t say, ‘That sounds extremely arduous.’

Did you all grow up in Sydney?

HAYDN: Yep. We all went to the same school.

I think I read you were jazz musicians or is that a stretch?

LUCA:  The press release really gives us a little bit too much credit there. We all played jazz together.

Did you have any other bands before this one?

KEVIN: Nothing serious. This band, we’ve stuck together. I only do it cuz I like hanging out with these two.

When you first started the band, what kind of music were each of you listening to?

KEVIN: Sticky Fingers.. it’s been a long time since then.

LUCA: It was such a wide range.

KEVIN: I remember you always were like, ‘Oh, you’ve got to listen to Ice Age. Ice Age is the best.’ I remember listening to it and being like, ‘This shit is trash.’ Now I’m like, ‘Yeah, it’s pretty good.’ I just didn’t understand. Because, me personally, I’ve played piano since I was a kid, so I guess I’m classically trained. It was just painful listening to this music where the guy couldn’t sing in tune, but now I get it.

LUCA: We had to convince Kevin. We had to get in the backend and change some of the plugins and the wires [laughs].

KEVIN: They had to rewire my brain.

I really love the album cover; whose car is that?

KEVIN: My dad has done solo excavation his whole life, like proper blood, sweat, and tears stuff. About nine years ago, he was like, ‘Fuck it, I’m going to treat myself.’ And he bought that Lexus. He didn’t really drive it much, but it was kind of like a symbol of this guy who flew from Greece when he was 22 with like 200 bucks in his pocket—he literally came from nothing. And for him, having that kind of material possession was much more than just a material possession. It represents a lot of people in Sydney who are struggling, but they’re trying to achieve this dream. There’s a lot of mountains that one has to climb just generally.

We’re all trying to chase this dream, too. It’s obviously a bit of a different dream from what my dad wanted to achieve, but it’s still, as the son of migrant parents, where I wouldn’t say I had a hard upbringing. They worked hard. They were able to provide. So, my dream is a bit different.

HAYDN: We were taking some press photos in my area the other day, and that photograph very much reminds me of it. Kevin’s in Campsie, I’m in Bexley, and that’s where we grew up. The image just looks like a photograph of suburbia around our parts—like the houses of that style. It’s very Aussie in a way. It has a temperature to that photo as well. It’s a real warm picture, and it reminds you of walking down the streets.

LUCA: The image represents the hard graft of everyday life. If a car is something you care about and it’s precious to you, it’s about putting in the work to keep it from falling to pieces. There’s a level of upkeep in that photo—like investing in the things you love.

The band’s name is borrowed from a drifting team, isn’t it?

KEVIN: Yeah, look, I regret the band name, but I was 18.

LUCA: [Laughter].

Where did your love of modded cars come from?

KEVIN: I was procrastinating during my HSC exams. I was bored and discovered drifting, and it’s been an obsession of mine ever since. It’s such a unique niche. To most people, it looks like the most boneheaded shit, but every car is so creative. They’re such an expression of their owner, and that’s what I like about it. They really stand out from the norm, and I gravitated toward that—because I don’t want to be like everyone else.

In the Shady Nasty song ‘Get Buff’ your mum’s voice can be heard talking about you getting a car.

KEVIN: I was going to buy a certain car, which I absolutely knew she would disapprove of, and I recorded her reaction.

I feel like there’s a lot going on in both your music and the visual accompaniments to it. There’s a lot of meaning and thought behind it. Many of the songs seem to be a balance of the duality of life’s chaos and the search to find meaning in it.

KEVIN: Nah, you’re giving us too much credit.

HAYDN: It’s all bone-headed fun [laughs].

LUCA: We do put a lot of time and effort into it. It’s very considered—it’s not just like, ‘We wrote this mad song about our mad car, and our epic mates did a burnout. Hectic!

KEVIN: Nah, it is what we’re about [laughs].

LUCA: A lot of our work is about Sydney—what’s in our own backyard and how we process our day-to-day experiences, especially as people living in the 21st century with an iPhone. When you take all that in and try to make a music video, it comes from the small things we observe or overlook in daily life. We try to code them honestly through our own Harbour City experience, whether that’s using the words our friends use or simply acknowledging the environment around us—like right now, I’m sitting in a car park in front of Spotlight, Freedom, The Good Guys. The typefaces, the colours, the cars in front of me—this is what life actually looks like for a lot of people.

Music videos can sometimes feel detached from reality. Not to say ours don’t have VFX and layers, but they are born from a collective reality for people who live here.

KEVIN: Inherently, we’ve always wanted to be as genuine and authentic as possible. I get the shits when I hear songs that clearly aren’t about real experiences the artist has done. So we put a lot of effort into that authenticity. Our lives aren’t that exciting most of the time, so we dig deep into certain moments to pull meaning from them. Maybe that’s why the lyrics and visuals turn out the way they do.

HAYDN: A lot of people write lyrics that lean into fantasy—big upping themselves. For us, though, it’s different. Take our track ‘Ibiza’ for example. It’s about living vicariously through other people’s lives, which is exciting in its own way. None of us have been to Ibiza, and that club scene isn’t our lifestyle, but it’s fascinating because so many regular people love that idea.

LUCA: You see them at the gym, at Westfield—there’s this shared space.

KEVIN: That said, TREK as an album is much less about vicarious living. It’s all pretty grounded in our own lives.

I’ve been really obsessed with the song ‘Caredbrah’ since you dropped it in November last year. It felt like he song of the summer. The vibe and hook rules. Is the song a reflection on ambition and what it costs to make it?

KEVIN: Maybe, in a way, yeah. It’s inspired by the relationship between me and one of my closest mates. We live completely different lifestyles, yet whenever I see him, it’s just like, yo, let’s go. I find that really special, and I’m very fortunate to be mates with this guy—that’s kind of what ‘Caredbrah’ is about.

The ambition part—yeah, I feel like I’m being extremely ambitious trying to play in a three-piece live band in 2025. And he is extremely supportive of it, despite knowing that heaps of people out there will never be able to make a living off doing that kind of stuff. But why not give it a red-hot crack?

I reckon you guys can do it!

LUCA: That would be very cool if we could do that. If you could organise that for us, that would be great.

[Laughter]

Do you have a favourite song from TREK?

HAYDN: I like ‘A86’ the most. I like the idea of it. A lot of sampled music—particularly in hip hop—takes an older track, like a Motown song, and lifts a full bar from it.

KEVIN: Tell them how you did it!

HAYDN: I took four bars from our rehearsal and turned it into a sample. Then we took it to the studio and layered other elements over it. I started wondering—has anyone ever sampled themselves? It just seemed like an odd concept to me.

Kevin’s chant vocal on it—I really like it. It’s a great representation of what we can do. It’s traditional instruments, but with an electronic or hip-hop element that might surprise people. That combination is what makes it stand out.

That’s cool. I know that Randy the vocalist for 80s-90s Sydney hardcore punk band Massappeal took samples from the bands practices and used the ringing out parts of songs to make an electronic project called Wolf Shield.

HAYDN: Man, somebody’s onto it before me. I’m just stealing his ideas! [laughs].

What about you, Luca and Kevin? Which song do you really love on the record?

KEVIN: My top two are probably ‘SCREWDRIVA’ and ‘I Don’t Want To Lose’ (‘I.D.W.T.L’)

‘SCREWDRIVA’ because I remember listening to the first mix Kim [Moyes] sent us in the car—it banged so hard. I played it over and over, like six times, on the way to work.

Then ‘I.D.W.T.L’—the demo was so different from what it sounds like now. It really became its own thing. I can’t say I enjoyed the process because it took forever—it was painful trying to work things out. But the end result is completely different from the original, and I think it’s beautiful what it became.

What was it originally?

KEVIN: There were live drums and heavy guitars—it pumped a lot more. But the version of it now is probably the most laid-back song on the album. It was cool to see what it could become.

Lyrically, it’s again, about having ambition and knowing that it’s a a difficult road to traverse but just doing it anyway.

I feel like that one seems a little more introspective.

KEVIN: Yeah, I think so. I don’t know what I was thinking when I wrote it.

LUCA: Your mum and your dad yelling at you.

KEVIN: Yeah, they roast me a lot for not having a stable career, but what are they going to do about it?

[Laughter]

What’s ‘SCREWDRIVA’ about?

KEVIN: The long stretches of driving when we play interstate shows. You just want to get there. So, you drive well above the speed limit and you have lots of energy drinks. And it’s about the tunnel vision that you get as you’re just barreling down the highway. You stop caring about getting done by speed cameras or crashing into kangaroos. That’s what it’s inspired by.

I still can’t believe you you’re building speed cameras!

KEVIN: Yeah, me too. I’m on my second week of the job.

I found a mention online that said you were a stunt driver?

KEVIN: I did some burnouts for a short film. I’ve done stunt driving a couple of times, but it’s not actual stunts, it’s just moving a car into the frame stuff. It’s good fun.

Luca, what song’s your favourite on TREK?

LUCA: ‘SCREWDRIVA’ or I actually really liked the song ‘Hesitance’, even though I hated it for so long.

KEVIN: That song wasn’t even going to be on the album

Really? That’s actually one of my favourites on the album. With each listen it grew and grew on me even more.

LUCA: That’s how I feel about it. It  leaves me wanting more, every time we did it. We couldn’t get it over the line. And even when we’d finished it, I still had this feeling of unease about it. I’d almost say I like the fact that it doesn’t perfectly scratch that itch for me. I like that it feels like there’s something slightly off, like it never quite makes it over the line. I don’t know why, but I just like that feeling in that particular song. It’s a grower [laughs].

KEVIN: We reworked that song multiple times in the studio with Kim. We tried so many different things. Even like the first mix, after we finished all the studio sessions. Luca you still hated it. I

HAYDN: It sounded flat. It didn’t have any aggression; it didn’t have the bite it probably needed. It was only able to get enough bite by mixing it differently—especially by that point, because we’d spent so much time on it. Turns out, that’s actually all it needed—some compression and mixing. That’s all it fucking needed.

What was it like working with Kim? How did he help shape the album?

LUCA: Kim is a beast. Kim is fucking awesome—and a very intense guy. Much like us, he has strong reactions to things, and he will fight you tooth and nail to realise what he thinks is best for the song. So he makes you fight for what you want, which was honestly a really cool experience for me.

I liked that he was quite full-on and that you basically had to wrangle him if you wanted to get what you wanted. He really questions your resolve and challenges you on why you think something’s good. I love Kim—he’s a total eccentric. He’s a wonderfully talented and smart guy who can be quite difficult at times, but I have a lot of respect for him.

Kevin and Haydn, how do you feel about him?

KEVIN: Luca put it perfectly. Although, Kim basically did whatever I wanted him to do, he fought with Luca and Haydn a lot more.

HAYDN: Yeah, look, there were some fights. But he also brought something valuable to the process—he probably highlighted a mistake we often make. There’s a commercial element that’s lacking. That’s not to say things are worse if they have it, but it’s probably something we hadn’t considered exploring as much as he pushed us to. As for the album as a whole, that was definitely an aspect worth looking at.

He would say things like, ‘Yeah, that’s great—if you just don’t want to make any fucking money and fade into obscurity.’ [Laughs] It’s like, ‘Yeah, yeah… but I like it that way.’ And he’s like, ‘Yeah? Why? Why do you like it that way?’ And then I think, ‘Well… okay, maybe I’m not that attached to it.’

[Laughter]

When you first started the band, did you have an strong idea of what you wanted to sound like?

KEVIN: I probably want it to sound like Sticky Fingers, but then like my tastes have changed, they change monthly. So you just go with it and it’s what it is now, at least for me.

HAYDN: Yeah, I think so. It all changes, even when you’re playing or writing. But I think you can surprise yourself with how far your tastes reach. You might write something and think, ‘Oh, I don’t even know if I’d listened to that before,’ but then it grows on you—and it might inform your later writing as well. It’s all part of the full package of what we set out to do, and it just works.

We kept saying to each other, ‘We’ve got to write a banger. We have to write a banger! We have to write something that’s loud and hits.’ But when you try to put things in a box like that, it often doesn’t get you the result you want anyway. So it’s a pretty organic process in the end.

What’s the most fun you had while making the album?

KEVIN: We’ve been trying to write an album for five or six years. So every rehearsal, if we didn’t come up with something I thought was good, I—well, I think the boys can attest to this—I would just go silent and get really down. Literally, every week. So every rehearsal was a rollercoaster.

My favourite moments were when, for example, we came up with the main riff for ‘SCREWDRIVA’ and thought, ‘Fucking finally!’ It was just pure relief. It wasn’t even joy—it was just the relief of finally getting something, you know?

HAYDN: Yeah, that was memorable. I can still picture that moment when we started to play it. And we all just went, ‘Five!’ I mean, that was the quickest and easiest thing. But is it though, if it costs you months of work to stumble on something?

KEVIN: Bro, like years of work, stumbling!

HAYDN: Well, yeah. And then you come across it and think, ‘That was so easy and quick.’ But that one session, though—it just happened to come together in half an hour. But, you know, it’s years of work leading up to that. And when something like that happens, it’s a huge relief.

Has there been any moments where you thought you just might quit and not do the band?

HAYDN: Yeah.

KEVIN: Yeah, I think about that every second day.

[Laughter]

HAYDN: We had a big chat after we came back from Europe. It wasn’t a particularly good tour, all things said and done. It was fun in a lot of ways, but I think we all came back from that thinking, ‘This is impossible.’ We have to get this done; we have to do an album. I think it was a moment where we had to talk ourselves into it, because you realise you can’t stay at this level forever. It’s just not feasible.

KEVIN: The fact that we all have other interests—like, I love cars, Haydn loves tennis, and Luca loves RuneScape—all these things pull you away from music. In a way, having those breaks is really good. Because if I tried to write music every day, I’d be like, ‘Nah, fuck that,’ I’d be out of here, you know? So, I think, yeah, the fact that it took so long was necessary too.

Was there any big challenge making TREK?

LUCA: We all know when it works.

KEVIN: Yeah!

LUCA: We all collectively have this intuitive, like, fuck yes moment when it clicks. But we don’t often know, like, what we’re searching for or, like, how to get it there. It’s just grinding it out. And the grind can be brutal—weeks upon weeks. We go to the studio twice a week for over a year, four or five hours each session.

We have tons of music that, maybe to other people, yeah, might have some decent bits in it. But for us, it’s just not hitting that particular nail on the head. And when it does, it’s like—fucking holy shit. Thank Christ.

HAYDN: There’s also the amount of times we’ve said, That’s a great song—for another band. We’ve written something, even fleshed it out, and it takes listening back to it, maybe playing it the week after, to realise—yeah, the parts are good, but it’s not really us. It doesn’t suit the character.

And again, I’d probably listen to something like this, but does it fit the mould? No, probably not.

KEVIN: Like Luca said, we all know when something is right. So it’s basically just about keeping at it until something clicks. I wouldn’t recommend trying to write music this way, though—it’s pretty heavy.

LUCA: We strongly discourage anyone from making music.

[Laughter]

How have each of you evolved since you started the band?

KEVIN: I don’t play guitar anymore.

LUCA: For you Kev, if I could make a comment on your evolution, you’ve embraced the things that make you, you a lot more. So for instance, you had a lot of like shame and embarrassment attached to your obsessions.

KEVIN: Yeah, that’s ‘cause my parents were probably roasting me every day. So I held onto that, and I felt shame for being obsessed with cars for a long time. But now, I’m pretty open about it—I really like it. But yeah, that’s definitely changed.

There’s so many references to cars throughout your songs.

KEVIN: Yeah, sorry about that [laughs].

I saw a mention of you guys being into Avicii and David Guetta? I happy your honest about your influences.

LUCA: The creative world—particularly music—so much of it is stylised. Not to say our work isn’t, but at the end of the day, when we’re not on stage or whatever, we’re scrolling reels at home, you know? We’re going on RuneScape like everyone else, looking at all this stuff, doing shit that we like.

I’m not really sure what I’m trying to say…

HAYDN: Well, it’s not embarrassing to admit that, because, you know, everyone else is scrolling reels at home. There’s no sense that we’re above that.

LUCA:  That’s the point that I’m making.

HAYDN: Yeah. This extra highfalutin thing—it’s like, no, it’s the same. We’re all digesting the same meal of TikTok.

KEVIN: We’re professional doom-scrollers.

What have you been listening to lately?

HAYDN: The Fontaines D.C. album was one of my most-played last year—both the artist and the song. And that album is fantastic. It’s just got depth to it. There are parallels to our music in there, and I think that’s part of it. It’s a bit of inspiration.

LUCA: That came out when we were recording, in the middle of recording, actually, and it very much affected the drum sound, on ‘SCREWDRIVA’.

HAYDN: And ‘Hesitance’ .

LUCA: I haven’t listened to anything but Top 40 that I’ve really loved in a bit. In my car, I’m either listening to Nova or I’m listening to Smooth FM.

[Laughter]

LUCA: Whatever they’re playing, I’m into it. I like the Troye Sivan song. [Sings] ‘I feel the rush.’

KEVIN: Holy crap! Bro, you’re out of the band!

[Laughter]

How did you come to play your respective instruments? And why don’t you play guitar anymore Kev?

KEVIN: I just don’t play it at home. I would rather do anything, but play guitar by myself. So I literally, and I know this might sound weird, but like I only crack it out when I’m in rehearsal. I probably should play it more at home. But yeah, I’m too busy.

Do you think that not playing so much adds to your playing style? Does it lend itself to keeping a freshness for you?

KEVIN: That would be a great justification for my laziness. Maybe, maybe.

HAYDN: For me, I didn’t play bass until we started the band. I wasn’t very good at it.

KEVIN: Haydn was a guitarist.

HAYDN: Now, I’m okay. I don’t know if I loved it at first, but now I do. I think it sort of became like a new toy, you know? I still don’t, really sit down at home much to play bass. But it’s something where I’m like, how do I make this thing sound… you know, like a guitar?

I played piano before I picked up bass, and that influenced me. I was better at guitar, but I never got piano lessons. With bass, it was the same—I never really had lessons. So I sort of treat them similarly. In my head, I’m like, well, the bass doesn’t have to just be low notes. It definitely should be sometimes, but I like playing chords on it, mucking around with harmonics, that sort of thing. And it ends up sounding like… well, you just don’t usually think of bass that way.

I certainly didn’t think of it as an instrument with that much depth until I started playing. And then that made me want to seek it out more.

KEVIN: Most of the time, Haydn is the one who comes up with the main riffs—he’s usually the main meat and potatoes guy in the band. Luca and I just sprinkle stuff on top.

That didn’t used to be like that. It used to be, you’d think of the guitar as a traditional riff instrument. So it was on me—until Haydn came out of his box and started playing high notes, chords, and harmonics. And I was like, Damn, he’s way better at that than I am. I’ll let him do that.

Is there anything else you’d like to tell me?

LUCA: I’m an artistic genius [laughs].

KEVIN: All the videos are spearheaded and done by Luca. We do get help from our good friend Harry [Walsh], who’s in Behind You—he co-directs a few of the videos. But the most recent video was just Luca being like, ‘Oh, Kevin, I need you to come here at this time.’ Then I’d rock up, and he’d be completely hungover.

We’d film some stuff. I don’t know if you’ve seen the SCREWDRIVA’ video?

Yeah, it’s awesome!

KEVIN:  All the crazy 3D stuff?… Luca bought five GoPros off Amazon, and Haydn built a rig in his backyard to put them on. We went to a bunch of different servos, and Luca would be like, ‘Okay, Kevin, go walk into the servo.’ I hated it so much. But the shots came out pretty cool.

Luca, you come from a creative household growing up, right? Your dad is a photographer?

LUCA: Yeah, my dad’s an artist, and so is my mum. I think being around them from a very young age exposed me to pretty out-there stuff. Some of my parents’ favourite artists were often people who made things that hadn’t really been made before. I remember growing up listening to The Fall with Mark E. Smith, or watching Harmony Korine’s films.

That’s what influenced me. My dad, for his PhD, swam the Parramatta River as a performance piece. There’s a screenshot of it hanging in our house, and that’s stuck with me for a long time. It’s a big part of my aesthetic.

Rad! Last question; what’s something really awesome that’s happened to you in the last week?

KEVIN: I bought a new bicycle today because me and my girlfriend have gotten really into cycling, as lame as that might sound.

That’s not lame. That’s rules!

KEVIN: I love toys, you know, so got the drift car, got the mountain bike. That makes me happy.

If you had a skateboard too, you’d have it all.

KEVIN: I’m too old for that. I’ll shatter my femur multiple times!

[Laughter]

HAYDN: I got nothing. Nothing awesome has happened to me this last week.

LUCA: It’s all doom and gloom. I reckon the most awesome thing that’s happened has been honestly showing up at work. No one I work with—God bless them, I love all these people so much—really knows what my life is like outside of work. I love the feeling of walking into work and no one gives a fuck about what I’ve been doing. It’s so funny. All your friends and family are like, ‘Oh, great video, great song,’ but I walk into work and everyone’s just like, ‘Have you seen the email? Have you done it?’

[Laughter]

HAYDN: It may be a cop-out sort of response, but I had a similar realisation when I was doing a lesson. I was like, You know, it’s very different. I’m a different guy when I’m a tennis coach. I realised that this week as well, especially because we haven’t been working very much. I’ve been doing it all, you know, six days a week, and then suddenly, I’m not during this break, and we’re focusing on music. I go, Man, I turn into Coach Haydn. My voice changes, everything’s different. And I think it takes time away from work to realise that sometimes.

KEVIN: Haydn’s a weapon on Minecraft, by the way.

HAYDN: Yeah, I’m pretty good at Minecraft,.

KEVIN: If he’s not doom-scrolling or playing tennis, he’s building crazy shit on Minecraft.

HAYDN: That’s absolutely true. I’m pretty good at woodworking too.

LUCA: I’m amazing at the online MMORPG RuneScape. Thank you for asking good questions.

KEVIN: Yeah. Thanks for the lovely chat!

Find SHADY NASTY online HERE. Follow @shady_nasty. Listen/Buy TREK on bandcamp.