HighSchool came together during Melbourne’s lockdowns, when time felt strange and options were limited. Instead of overthinking it, they focused on what they could control: making songs, working quickly, and trusting their taste. From the start, they weren’t chasing big arrangements or studio tricks. The songs came from a mood first — images, colours, a general feeling — and the music followed. Tempos stayed high. Parts stayed tight. If something didn’t serve the song, it didn’t stay. That approach runs through their self-titled debut.
A lot of that clarity comes from how the band works as a duo. Both are multi-instrumentalists, but roles matter. Lily, who began on drums before moving to synth, brings a strong sense of taste that keeps things from getting too clean or overworked. Sometimes the “right” part isn’t the most emotional one, and she’s often the voice pushing the song back toward feel instead of finish. When they moved to London, the process stayed the same. Writing became routine — like showing up to work — without forcing outcomes. They spent months in South Bermondsey, using a small studio as a shelter from the weather and the noise of the city. Melodies showed up when they were ready, sometimes half-asleep, sometimes all at once.
The album itself pulls from different moments. Some tracks took shape slowly. Others happened fast. Sony Ericsson is a good example — nearly scrapped, then rebuilt from scratch in a single day. That urgency is part of what makes it work. Mixed by Claudius Mittendorfer, the record keeps its rough edges while sounding focused. You can hear traces of shoegaze, post-punk, and dream-pop, but nothing feels overstated. It’s music that leaves space, but still moves.
Since release, the response has grown steadily. Radio support in Australia, the US, and the UK has brought new listeners back through the catalogue, song by song. There’s no big reset — just forward motion. The plan is simple: tour, write, release often, and don’t wait around for perfect.
HighSchool’s story isn’t about hype or reinvention. It’s about trusting your instincts, keeping the process lean, and letting the song do what it needs to do.
