The song itself is featured on The Get Up Kids frontman’s fourth album, ‘Memento Mori’, which was released last year on Equal Vision Records.

It is released on February 17 via Equal Vision, and pre-orders are available now.

Take a listen to ‘Memento Mori’ by clicking the link below.

Matt Pryor streams ‘Memento Mori’ via Billboard

The track is taken from his forthcoming album, ‘Memento Mori’, which is due for release on February 17th via Equal Vision Records.

Pre-orders are available now, and you can listen to ‘Mary’ by clicking the link below.

Matt Pryor streams ‘Mary’ via New Noise Magazine

The track is taken from his forthcoming album, ‘Memento Mori’, which is due for release on February 17th via Equal Vision Records.

Pre-orders are available now, and you can listen to ‘I Won’t Be Afraid’ below.

It is due for release on February 17th via Equal Vision Records, and is available to pre-order now.

To coincide with the announcement, Pryor has unveiled a new single, ‘A Small Explosion’, which you can listen to below.

Living in Kent for some years, it’s only natural to realise that the Garden of England is somewhat of a musical paradox. Defined by a rich history of alternative music, and spawning some excellent bands both old and new, it often defies logic that venues struggle to attract even a fraction of the punters commuting to London for their live music fix. Yet still, and understandably so, many bands choose to stop off at one of Kent’s many venues en route to the continent. It seems the county is spoilt for choice, yet not choosing to be spoilt.

Blaming the local residents for a gig’s disappointing turn-out may not be entirely fair, and tonight’s performance is marred by its timing perhaps more than anything else… it is a Sunday after all.

More importantly, a disappointing turn-out doesn’t necessary mean a disappointing show. Once those in attendance acknowledge the inevitable awkwardness of a sparse room, and once Allison Weiss coaxes the audience further forward by musing that nobody has ever been to a memorable show with a huge gap at the front, things are off to a surprisingly comfortable start.

In fact, tonight’s intimate nature is elevated by the handful of onlookers. The humour, verging on non-clichéd stand-up comedy, feels as if it is directed at each singular attendee. And there’s a hell of a lot of humour – be it the entrancingly awkward interactions between Weiss and the audience, or the good-natured mocking between Weiss and Pryor across the room, or the bodiless voice emanating from the dressing room behind the stage. Weiss fittingly closes off her set by expressing her hope that the audience have enjoyed the chat, even with the musical interruptions.

For all intents and purposes, tonight is a floor show. A house show. A hang out at a party with some people you’ve just met, playing some excellent music. It’s still entirely about the music. Weiss’ vocals engulf the space, as the likes of ‘Making It Up’ see her delivery overflowing with emotion. The songs sound even more real, relevant and immediate than they do when accompanied by a full band on record. By stripping them back the emotive cracks in the vocals become audible, and the perfectly balanced understated guitar work takes centre stage. Weiss presents a quirky, bittersweet take on the human condition, and one that is truly magnificent to hear.

The intimacy is not lost on headliner Matt Pryor either. Blaming Weiss for infecting him with her awkward ramblings, songs are started and stopped in order to continue stories of drunken fans and random encounters. Requests are encouraged, leading to a particularly special rendition of The Get Up Kids’ ‘Red Letter Day’.

It is evident throughout why Pryor has gained a reputation as one of the kings of emo, be that an agreeable accolade or not – his grittier vocals still embody the emotive lyrical content on both his solo and full-band material. Older tracks, The Get Up Kids and The New Amsterdams songs sit comfortably next to material from the recent ‘Wrist Slitter’, all stripped back and saturated with feeling. It’s as if this is how Pryor is meant to be heard – witnessing the culmination of years of vocal and instrumental development.

There may only be a smattering of us here, but for us, this is our show.

BEN TIPPLE

A few months ago, you said in an interview with Dan Ozzi that you “quit music” last year, but now you’ve released a new album (which is really enjoyable, by the way). Was there one experience, or person, or thought, which inspired you to start writing again?

I went and worked on a friend’s farm for about eight months.  Cleared my head, went kinda broke.  I needed to get away to start enjoying it again.

Although you’ve explained that the title ‘Wrist Slitter’ is actually the opposite of the final feeling of the album, what was it that made you initially think you were going to write a really sad record (and what changed)?

Actually, that’s been misrepresented.  I never intended to write a sad record.  The chorus of the title song was going to be “I don’t want to write another wrist slitter” which would have put the title in more context but the song didn’t end up that way.  I needed to write something upbeat because I had been in such a dark place for so long.

‘Wrist Slitter’ feels really upbeat and in truth, full of youthful enthusiasm. After many years of writing, recording and touring, what aspect of making music gets you the most excited?

Writing.  Recording is fun if you can dedicate time to it.  My favourite is when I’ve just finished a song and it’s stuck in my head before anyone else has heard it.

For your diehard, longtime fans: which of the Get Up Kids records has most in common with ‘Wrist Slitter’? Do any of them correlate?

Eh, not really.  I guess it’s similar to our first couple records because the songs are really personal and raw.  They’re just written from a 30 something’s perspective as opposed to a teenager.

The track ‘Before My Tongue Becomes A Sword’ sounds a little like it could have come from the soundtrack of a great 80s teen movie. Do you have a favourite 80s classic – and one you wish you could have soundtracked?

Ha.  I’ll go with ‘Better Off Dead’.

Saves The Day’s Chris Conley duets with you on that track; what do you most admire about him as a musician? And as a friend?

He’s a great songwriter and a really interesting lyricist.  He’s also a searcher; we talk a lot about the universe.

Talking of friends, who would be your dream guest on your podcast, ‘Nothing To Write Home About’?

Ian Mackaye.

As someone who both interviews and gets interviewed, who’s your favourite person in the world to have a conversation with?

Dewees [James Dewees, Get Up Kids drummer].  He’s hilarious.

Why did you choose Allison Weiss to support you on your UK tour? (Side note: she’s awesome, so good choice)

I think she’s really talented and we have the same booking agent.

As part of the organisation Downwrite, you compose and record original songs by request from fans: can you maybe share the most unusual story or theme you’ve been asked to base a song on?

One just said “write a song about a robot falling in love with an octopus”.

You’ll be on your first tour date in Southampton, UK on Valentines Day, so how will you celebrate? 

By playing a great show and having some good British ale.

The new album Wrist Slitter by Matt Pryor is out now. He tours the UK from 14^th-23^rd February.

GEORGINA LANGFORD