The track is born from a deep admiration for the sincerity and drive found in music and art, channeling the energy of punk, the playfulness of experimental noise, and the fearless spirit of “skate and destroy.” Keire crafts an auditory experience where each section unfolds like a scene in a film, utilizing soundscapes and tone as essential storytelling elements.

Featuring Luke Bentham (The Dirty Nil) on lead guitar, Theo Mckibbon (The Trews) on drums, Linnea Siggelkow (Ellis) on backing vocals, Jon Harvey (The Wild High) on bass, Marco Bressette (Dead Tired) on rhythm/lead guitar and even more Hamilton, ON talent, listen to “Trouble” HERE.

Watch the official “Trouble” music video directed by John Smith whose credits include digital paintings & animations for Taylor Swift‘s Eras Tour as well as video art contributions to Netflix‘s Song Exploder for Trent Reznor/NIN HERE.

I wanted the song to feel exciting, unpredictable—like stepping into the unknown and embracing the madness. Each part had to serve the moment, not just fit into a verse-chorus mold. Soundscapes and textures matter just as much as melody in evoking a feeling, and I wanted to use every tool available to make that happen. – Michael Keire (rhythm guitar, the nebulophone and drum programming)

What you hear is the first take of the completed lyrics—a pure, unfiltered moment. It’s a channeling of energy right onto the tape. No overthinking, no tinkering, just passionate fervor and commotion. I ate the big dinner, indeed. – Adam Bentley (vocals)

“Trouble” marks a significant moment for Keire, who has spent years shaping the music landscape from behind the studio glass. Now stepping into the spotlight, he assembles an all-star cast of collaborators, including Marco Bresette, Jon Harvey, Theo Mckibbon, Adam Bentley (Allegories), Luke Bentham, Linnea Siggelkow, Thom Hammerton (Kathleen Edwards), Dwayne Christie, Aaron “Hutch” Hutchinson, and Connor Bennett, embracing a creative process reminiscent of Mike Watt’s “Ball-Hog or Tugboat?”—where the energy of collaboration fuels the art itself.

With decades of experience producing and engineering for the likes of Rheostatics, Cadence Weapon, Arkells, and The Dirty Nil, Keire‘s evolution into King Ludd is a testament to his belief in making music for art’s sake—free from commercial constraints, rooted in passion and authenticity. The name King Ludd pays homage to the misunderstood Luddite movement, a symbol of resistance against exploitation and the fight to preserve artistic integrity in an era of algorithm-driven content.