FLEEING THE SCENE KEEP PUNK SHARP AND UNCOMFORTABLE

Pretty In Punk packs five compact songs into a tightly wound 11-minute statement that values immediacy

Fleeing The Scene’s 2025 EP contains five songs in just 11 minutes, and that economy gives the record a distinctly punk sense of purpose. Nothing hangs around long enough to lose its bite. The sequence moves through “Little People,” “10 Years,” “Mark Johnson,” “A World In Want Of Peace” and “Swamp Thing,” with the songs ranging from a clipped 1:35 to the comparatively sprawling 3:26 closer.

“A World In Want Of Peace” is outward-looking, while “10 Years” and “Little People” feel more personal and observational. Then there is “Swamp Thing,” which gets more than three minutes to develop into the EP’s longest statement. I hear a band actually make its ideas land harder!

The later appearance of “Banned In PG” and “The Shutters,” both under two minutes, reinforces that instinct. For me, Pretty In Punk is most compelling as a snapshot of a project stripping rock songwriting down to its essentials. Concise structures and provocative songs!

Interview with Fleeing The Scene

(•)> What was the first song written for Pretty In Punk, and did it establish the EP’s stripped-back approach?

(•)> Why was keeping the entire record around 11 minutes important to you?

(•)> “Little People” is only 1:41. What did you want to achieve in such a compressed amount of time?

(•)> What does “10 Years” refer to, and how did its theme influence the musical arrangement?

(•)> “Mark Johnson” is an unusually specific title. Who or what is behind the song, and why was that name important?

(•)> “A World In Want Of Peace” sounds deliberately broad in its subject matter. How did you balance a large idea with such a short runtime?

(•)> Why did “Swamp Thing” need more than three minutes when the rest of the EP is so concise?

(•)> How did you decide on the sequencing of the five songs?

(•)> What punk records or artists were most influential when you were developing the sound of Pretty In Punk?

(•)> Did you deliberately prioritize rawness and immediacy in the production, or did that character emerge naturally during recording?

(•)> Your subsequent Banned In PG release became even more compressed, with “Banned In PG” and “The Shutters” lasting just 1:26 and 0:55. What did that experience teach you about writing shorter songs?

(•)> Looking back at Pretty In Punk now, which song best represents the direction you want Fleeing The Scene to take next?

(•)> That's all, Folks! Check out Fleeing The Scene on the Pigeon Opinion Playlist