When it came to shaping their listening habits around this release, the band pulled from a mix of obsession, instinct and spontaneous rabbit holes. Skye was deep into “Nudge” by FIDLAR when she first started writing, drawn to its simple, repetitive guitar and sarcastic storytelling. She later pulled inspiration from the spoken word edge of “Sick Ride” by Karen Dió and the dramatic closing screams of “ur mum” by Wet Leg, which helped shape the song’s ending. After hearing their friends in Vacate Palace cover “Thy Mission,” she revisited The Garden’s discography and became set on finishing the track in double time.

Holly’s bass line came together the night before the studio, written between teaching lessons. Inspired by the punchy tone of “U Should Not Be Doing That” by Amyl and the Sniffers, with grooves nodding to “Billie Jean,” “Guerrilla Radio,” and “Fight For Your Right,” she built a riff that cut through the mix. She worried it might be too bass heavy, but the band loved it.

For Blush, the process proved that everything you listen to eventually seeps into your music, often in the most unexpected ways.

Taking these songs to the stage has been a revelation for Blush, highlighting just how fluid music can be in a live environment. The band loves that no two performances are ever the same,

‘The song is going to sound slightly different every time you play it live. Each show, someone will add something, a different couple of notes in a solo, a new drum fill, or a slightly altered melody. It is exciting to have fun with it and not really know what to expect.’

The live stage also reveals rawness and spontaneity that recordings cannot capture. Skye reflects on her growth as a performer,

‘I used to be very critical of myself. If I did not play perfectly, I would get super upset or feel embarrassed. But I have learned there is charm in the imperfections of a performance. That is what makes live music so unique and entertaining. It is raw, authentic, imperfect. We make mistakes all the time, and instead of dwelling on it, I just laugh it off now. ’

Life on the road has both tested and strengthened Blush. Touring means constant proximity, exhaustion and hauling gear from city to city, and Skye admits it would be tough if they were not genuinely best friends.

‘We did come out of [the tour] closer, there were some moments where the tension was high but that’s just inevitable. It’s a really exhausting and jam-packed few weeks, but we kept having moments where we would just hug each other and feel so grateful that we even had the opportunity to do something so fun together. We cannot wait to do it again.’

Right now, a Blush show feels loud, loose and deeply affirming. The band has been overwhelmed by the response at their recent run of gigs, especially hearing crowds sing the lyrics back and throw themselves into the movement of the songs.

"We were so nervous and excited because we had no idea what to expect; we had no idea what the crowd would be like in a city we’ve never played in before. Their response was better than anything we could’ve imagined; they were so attentive, really listening and absorbing every word and clang and crash, and just danced and moshed and screamed unashamedly, which is exactly what we hoped our audience would feel comfortable enough to do at a show of ours. It was a really special moment for us.’

I was curious to know the band’s first albums they bought, with each choice offering a glimpse into the roots of their sound.

For Austin, it was Metallica’s Black Album. Hearing ‘Enter Sandman’ for the first time introduced him to a proper heavy guitar riff, and he admits he is still chasing the feeling that riff gave him.

Holly’s first was Fleetwood Mac’s Tango in the Night, while Gianna picked up Blondie’s Parallel Lines. Skye cannot quite remember hers. It might have been The 1975’s self-titled debut, or possibly Pierce The Veil’s Collide with the Sky during the height of her emo phase, an album she still defends.