There are few acts more intrinsically woven into the fabric of British dance music than Utah Saints. From the euphoric explosion of rave culture through to today's festival stages, the Leeds electronic pioneers have remained guided by a simple philosophy: let the music do the talking. Ahead of their appearance at SHIIINE ON, Jez Willis and Tim Garbutt reflect on the golden era that shaped them, the enduring power of community, and the unexpected journey that transformed bedroom productions into era-defining anthems. With trademark humility, humour and authenticity, they look back on three decades of innovation while keeping their eyes firmly fixed on the next moment, rather than the rear-view mirror.

SHIIINE ON celebrates the music, culture and spirit of the 90s. When you look back at that decade, what do you think made it such a special and unrepeatable time for British music?

Rave and Oasis.

Electronic music really came into its own through clubs and dance music. The (very basic by today’s standards) tech had become affordable- if you could scrape some money for an Atari computer and a sampler or maybe a keyboard with a sequencer, you were off. Loads of us were able to start making electronic music in bedrooms, and get it out on record..

Oasis came along and reinvented swagger, confidence and presence- it became fine to tell everyone how great the music was, which was against the grain of a lot of acts who were a lot less shouty.

Your music became synonymous with the explosion of rave culture, but what do you remember most vividly about those early years when everything seemed to be moving at breakneck speed?

It was all about the music, sound, lights and common experience of everyone there.

When you were in that environment, in the moment, nothing could bring you down.

"Something Good" remains one of the defining tracks of the era. Did you have any idea when you were making it that it would still be filling dancefloors and festival fields decades later?

No, no idea. We’d had What Can You Do For Me go top 10, which we didn’t expect, and Something Good was nearly a year later.

A lot of people had written us off as a one hit wonder, but we have always stuck to not putting something out for the sake of it, only if we are both happy will we release a track.

We were very proud of Something Good - artistically and technically, as it as tricky to make it all work with the tech available at the time.

With every release we hoped to sell 1000 copies, which was enough to pay for the next one. Our first three singles all sold 175000 in the UK, always a surprise to us!

Many bands at SHIIINE ON are coming from indie, alternative and Britpop backgrounds, while Utah Saints were flying the flag for dance music. Did it feel like everyone was part of the same movement back then, or did the scenes remain separate?

We’ve always felt part of lots of different scenes- Jez came with Metal and European Electronic Industrial influences, Tim with Hip Hop and Detroit electronic influences. Both of us had a pop sensibility, and loved Public Enemy, New Order and The KLF. We found (and still find) ourselves on all sorts of bills, and every gig we prep a bit for, but always try and reflect the energy of the audience.

You were pioneers in using samples in ways that felt fresh and innovative. Looking back, which sample gave you the biggest thrill when you first heard it work in an Utah Saints track?

That is a great question which we have never been asked before…

Kate Bush was a huge one, it took us two weeks solid to get the sample to sit right.

After that, there are a few - mostly on the second album - Metallica, Iggy Pop, Chrissie Hynde, Chuck D, all legends….

The 90s gave us legendary clubs, festivals and all-night adventures. Is there one gig, club night or festival moment that perfectly captures what that era felt like for you?

Yes, our Friday night in Leeds at The Gallery. So many perfect moments, and under the radar made it feel even more special.

You've seen electronic music evolve through multiple generations. What do you think today's artists could learn from the DIY spirit and sense of community that existed in the early rave scene?

That pushing envelopes and taking risks works if the music, performance and community is authentic. 

Many people attending SHIIINE ON will have first discovered Utah Saints in the 90s, but there will also be younger fans seeing you for the first time. What do you hope both groups take away from an Utah Saints performance in 2026?

That we are real, that our main driver is music, that we always reflect the energy of the audience, and that, having spent our whole lives in music, we can bring in the best influences :)

After more than three decades in music, what still excites you about stepping on stage and playing festivals such as SHIIINE ON?

Every gig is special for us - we still get nerves, we still want every gig to be our best, and we’re always excited to see the response to our sets, especially when we throw in a sample people might not expect

Festivals like SHIIINE ON are all about shared memories. Is there a particular Utah Saints track that instantly transports you back to a specific moment in your own life?

No, we try to have no rear view mirror in Utah Saints, although bringing Edwin Starr to Glastonbury and Leeds/Reading festivals to sing Funky Music and War with us will always be close to our hearts.

You've been involved in club culture, promotion, DJing and live performance. Which aspect of the music world has taught you the most over the years?

All of it - club culture helps us understand where we fit, promotion has really helped us understand how our peers work, and helped us avoid working with people we don’t really get along with. DJIng and live - instant feedback on what we are doing, very in the moment.

If you could go back and give the Utah Saints of 1991 one piece of advice before the journey began, what would it be?

Do stuff and stuff happens.

Looking at the SHIIINE ON line-up, are there any artists you're particularly looking forward to catching or reconnecting with over the festival weekend?

All of them- we have total respect for all the acts on the bill. Everyone, including the audience, deserves a medal for making it this far.

What can fans expect from your SHIIINE ON set? Are there any surprises, forgotten gems or crowd favourites they should be ready for?

We honestly aren’t sure what we will play until we get into our set.

We do come with a love of music though, and hopefully that comes across.

The 90s are often remembered as the decade that changed British dance music forever. If you had to choose one song, one venue and one memory that best represent that period, what would they be and why?

Prodigy - Outta Space

The Gallery Leeds, where we were based.

1000 people all in the same moment.

What shines through this conversation is that Utah Saints remain as passionate about music today as they were when they first pieced together tracks on affordable samplers and Atari computers. Whether reminiscing about unforgettable nights at Leeds' legendary Gallery club, discussing the thrill of discovering the perfect sample, or explaining why they still get nervous before every performance, their enthusiasm remains wonderfully intact. As they prepare to take to the SHIIINE ON stage, fans can expect more than nostalgia. They can expect a celebration of musical curiosity, shared experiences and the enduring spirit of a scene that continues to unite generations on dancefloors across the country. After all, as Utah Saints succinctly put it: "Do stuff and stuff happens."

Keep up tp date with their sonic movements via INSTAGRAM

As The Ordinary Boys prepare to bring their distinctive blend of punk attitude, mod style and ska-infused energy to SHIIINE ON Festival, frontman Preston remains as refreshingly candid as ever. Reflecting on the band's journey from mid-2000s outsiders to cherished festival favourites, he discusses finding common ground with fellow guitar bands, the enduring relevance of the group's songs, and why their long-awaited return to the stage is powered by a simple desire: to have fun. With new material on the horizon and a renewed passion for performing, The Ordinary Boys look set to be one of Minehead's must-see acts.

SHIIINE ON has become a real home for fans of British guitar music. What does a festival like this mean to The Ordinary Boys?

We always felt like outsiders never really in a scene and being slightly out of step with other bands. We’ve always felt like we had more in common with the punk and britpop bands that came before us. Playing Shiiiine on means a lot to us as the bands are from different eras yet it feels like a lineup we are much more suited to. 

Looking across the line-up, do you still feel a sense of camaraderie with the bands that came through around the same time as you?

The Twang and Hard Fi are friends of ours and I can relate to their journey. It was a strange time to be a band in the mid Noughties.. 70s punk, 80s indie and 90s britpop were so defined in their sound and look but it’s that strangeness that unifies us and gives us a sense of scene. 

When you take to the stage at SHIIINE ON, what kind of atmosphere are you hoping to create for the crowd?

I’ve not really done the band in a couple of decades and the only reason we are back together is because I missed it so much. We are trying to make it as fun as possible. There’s a lot of ska in the set and opportunities for dancing. I’m having a mid life crisis and inviting everyone to come and have it with me. 

Many fans attending the festival grew up with your music. How does it feel seeing those songs continue to connect with people years later?

It’s very humbling seeing that people still connect with the band after all these years. I’m glad that my lyrics seem to have made an impact on people that has lasted so long. It makes me very happy. 

Is there a particular song in your set that consistently surprises you with the reaction it gets from audiences?

We have a new song Peer Pressure that has become a live favourite and always a high point in the set. I didn’t expect that at all. Leaning into the ska influence on this newer album that we are finishing off at the moment feels like it was the right decision judging by the reaction to Peer Pressure 

The Ordinary Boys always stood slightly apart from the typical indie bands of the era thanks to your punk, ska and mod influences. Looking back, do you think that individuality helped define your identity?

I don’t think that was a conscious decision. We always liked music from the 70s and I would have said we were a punk band before we recorded the first album. After we were on the cover of the NME with Paul Weller the mod influence kind of took over. It was always a part of the band but only one of several influences. I’m embracing it more now that i did in 2004. 

Festivals like SHIIINE ON celebrate not just nostalgia, but the enduring quality of great songs. Which track from your catalogue do you think has aged best?

I recently posted the video to Week In Week Out on our instagram and I had a look at the comments and a lot of them were about how the lyrics were even more relevant now. I suppose boys will be boys is about the manosphere and toxic masculinity it just didn’t have a name yet. 

If you could go back and give the band one piece of advice during those breakthrough years, what would it be?

I would say slow down and smell the roses!

The mid-2000s indie scene was a remarkable period for British music. What are your strongest memories from that time?

It felt like there were so many bands that were our age living out their own ambitions. There was space for guitar music in a way that doesn’t exist now. I’m not saying that that is necessarily better than now but it was an amazing thing to live through. 

You've shared stages with some legendary artists throughout your career. Was there one moment when you realised The Ordinary Boys had truly arrived?

We supported the who and I would have thought we had arrived except I got really badly told off for spitting on stage. Probably rightly so in retrospect 

What can fans expect from your SHIIINE ON set this year? Are there any surprises in store?

We’re making a real effort to be the best band we can be. We have a new keyboard player and a horn section when we can afford it and the set is incredibly tight. The surprise it that we have been secretly honing our live set all these years. 

Is there another act on the SHIIINE ON bill that you'll be making a point of watching yourselves?

I adore the Wannadies. They were a huge influence on me as a teenager. Very underrated band. 

How does the energy of a festival crowd compare with your own headline shows?

I think of them as 2 completely distinct experiences and they take a whole different energy. I love them both. 

What do you think was the secret behind the strong sense of community that existed around British guitar music in the 1990s and 2000s?

Guitar music was king and felt essential in a way that it hasn’t since. The industry was less able to get their fingers into the machinery like they can with pop music and dance music. It meant that the power was with the kids and we knew it. 

Finally, for fans heading to Minehead this November, why is a The Ordinary Boys set still an essential part of the SHIIINE ON weekend?

Come see us and find out! 

Throughout our conversation, Preston speaks with warmth, perspective and an obvious affection for both the band's past and its future. Whether discussing the strange but memorable era that produced The Ordinary Boys, revisiting songs whose messages feel more relevant than ever, or embracing a newfound love of their ska influences, there is a sense that this is a band enjoying a genuine second wind. For SHIIINE ON attendees, that can only be good news. Expect a set packed with beloved favourites, infectious rhythms, and perhaps even the soundtrack to Preston's self-confessed midlife crisis. As he puts it himself, the best way to understand why The Ordinary Boys remain essential festival viewing is simple: "Come see us and find out".

Keep up to date with The Ordinary Boys via INSTAGRAM

As SHIIINE ON continues to celebrate the bands that defined the alternative landscape of the late 80s and 90s, few acts embody that era's individuality quite like Ned's Atomic Dustbin. Emerging from Stourbridge with a distinctive twin-bass assault, unforgettable singles and an infectious sense of energy, the band carved out a sound entirely their own. Ahead of another appearance at the festival, frontman Jonn Penney reflects on lasting friendships, the accidental origins of the band's trademark sound, the songs that continue to resonate with audiences decades later and why nostalgia remains such a powerful force for both fans and musicians alike.

SHIIINE ON has become something of a celebration of the alternative and indie scene that flourished in the late 80s and 90s. What does it feel like to stand on a bill alongside so many bands who shared that journey?

Shiiine On is a weekend of pure nostalgia for the fans and for the bands. It’s very special being able to reconnect with the people who gave us such a blessed existence back in the 90s. Also, it’s great to sit at a breakfast table with James from EMF and Clint from Inspiral Carpets, discussing the mundane, mixed with the incredible memories!

Looking back to when Ned's Atomic Dustbin first emerged from Stourbridge, did you have any sense that those songs would still be connecting with audiences more than three decades later?

I had no clue. In fact I had no idea what potent songs we had at the time. We never thought that highly of ourselves and never will, but I guess the evidence is pretty clear all these years later.

Your two-bass-guitar attack was one of the band's defining characteristics. Was that sound a deliberate attempt to be different, or did it evolve naturally from the chemistry between the members?

It was accidental, deliberate and natural all at the same time! I accidentally invited two bass players to our first rehearsal but when it became obvious that Alex’s style of playing was so different to a traditional bass player, so we still needed that low-end tied to the drums underneath. Matt had only just started playing, so his style developed organically alongside Alex’s. It was this way from the very beginning, so it was deliberate but natural...

Songs like "Grey Cell Green", "Happy" and "Kill Your Television" remain fan favourites. Do you hear them differently now than when you first wrote and performed them?

I do hear them differently now. I have a better appreciation of all the parts that make them what they are. I marvel at the chemistry that produced them.

The early 90s alternative scene felt wonderfully diverse, with bands such as The Wonder Stuff, Pop Will Eat Itself, Carter USM and yourselves all sounding completely distinct. Why do you think that era produced such a rich variety of music?

I might be wrong but I think perhaps there was a greater will for your band to sound distinct and different from your contemporaries back then. Also bands had more control over what new bands they wanted to help out with support gigs - the music community looked after each other.

Every festival crowd has its own personality. What have SHIIINE ON audiences been like in your experience, and how does the atmosphere compare with the gigs you were playing in the early 90s?

Without wanting to state the bleedin’ obvious, a room full of teenagers is very different to a room full of 50-somethings! We were and still are roughly the same age as our fans, so we’re all experiencing that massive nostalgic injection together, whereas in the 90s together we were like a ’movement’, assaulting the world with everything feeling possible!

You've spent much of your career balancing melody, energy and thoughtful lyrics. Who were the artists or albums that had the biggest influence on you as a songwriter?

Joni Michell - Blue

Tom Waits - Closing Time 

Simon & Garfunkel - Sounds of Silence

The Cure - Head on the Door

Echo & The Bunnymen - Ocean Rain

The Teardrop Explodes - Kilimanjaro 

Julian Cope - Peggy Suicide

OMD - Architecture and Morality 

The music industry has changed beyond recognition since the release of God Fodder. What aspects of being in a band are easier today, and what do you think has been lost?

For 80% of my time I am not in a band anymore - Neds is a fantastic hobby. So I don’t really feel qualified to compare things. The industry certainly seems far more brutal these days.

If you could step into a rehearsal room with the 1991 version of Ned's Atomic Dustbin, what advice would today's Jonn Penney give to that younger band?

I’d say “don’t sweat the small stuff - just enjoy yourself!”

What's the most ridiculous, memorable or unexpected thing that's happened to Ned's Atomic Dustbin at a festival over the years?

Just before our headline set on The Other Stage (Glastonbury 1992), Damon from Blur blew all of the monitors on the front of the stage, so for three or four songs I couldn’t hear anything... Absolutely terrifying but still the best gig of my life!

Name 3 Ned's songs that you and the band love to perform live?

Can’t vouch for the rest of the band but my current faves are:

Traffic

A Leg End in His Own Boots

Selfish 

Lastly, I hear that you have a book out, please feel free to give it a plug and let the fans know where they can purchase a copy?

What a great segue! The book is called ‘Self-Ish’, it’s a lyric book that tells our story song by song, and is full of lovely artwork by Helga too!

I’m doing a chat about it with Steve Lamacq on Saturday morning at Shiiine On at Studio 36, followed by a signing at the Tonic Music Stage. Rat might bring his acoustic guitar…BE THERE!

If you can’t make it to SHIIINE ON, you can purchase the book HERE

More than thirty years after Grey Cell Green, Happy and Kill Your Television first rattled speakers, Jonn Penney remains refreshingly grounded about Ned's Atomic Dustbin's legacy. Whether recalling terrifying festival moments, celebrating the creative spark that produced the band's most enduring songs or reconnecting with old friends and fans at SHIIINE ON, there's a genuine sense of gratitude running through every answer. With the release of his book Self-Ish, offering another chance to revisit the band's remarkable story, it's clear that the connection between Ned's Atomic Dustbin and their audience remains every bit as powerful as it was during the height of the alternative explosion they helped shape.

Keep up to date with all of their musical shenanigans via their WEBSITE

Born from a desire to keep creativity, connection and community alive during the uncertainty of the pandemic, Finland's VoodooV have grown from impromptu jam sessions into one of the most exciting psychedelic funk-rock outfits emerging from the Nordic scene. Blending the free-spirited energy of Hendrix, the groove of funk rock and the expansive textures of modern psychedelia, the band have built their reputation the DIY way, fuelled by friendship, curiosity and a determination to keep evolving. As they take their music across Europe and prepare for an eagerly anticipated tour of Japan, VoodooV sat down with MusoMuso to discuss their origins, musical influences, life on the road and why there's always another rabbit hole waiting to be explored.

Take us back to the beginning. What were those early days of VoodooV like, and at what point did those pandemic-era jam sessions become a serious band?

The band kind of formed out of necessity, it was important to keep the cultural and social energy alive in our bubble when nothing was happening outside our little studio. More and more people started to hang out at our jam sessions and evening gatherings - before we knew it we had a little community going on. It wasn't really organized, just people looking to have a good time together and be involved with something creative. Lots of partying and good conversations lasting to the morning hours. Everything moved on pretty naturally from there, I don't know if there ever was a moment where someone went "ok guys lets make this into something serious", we just kept going to see how deep the rabbit hole goes and it has worked pretty good so far. Of course the band has a strong drive to keep things moving now, but when you are operating mostly DIY style you need to have an open mind and keep adapting to what can potentially move things forward. I think that mindset has a lot to do with the early days of the band.

VoodooV is a distinctive name. How did you settle on it, and what does it represent to the band today? Were other palindrome’s on the table? ABBA, RACECAR etc.

To be honest, it is all pretty hazy where the name came from, but it is partly a nod to our forming moments of jamming being rooted in blues, especially Jimi Hendrix. The palindrome side of it comes from our talks about the power of music and how it can move energy between the artists and the audience endlessly.

The music scene in Finland where we are from tends to be on the more melancholy side and we try to take it somewhat seriously what kinds of vibes we put out there. It is important for us to give people a chance for different kinds of views what ever is going on in the world - not necessary escapism but just a reminder that there might be things around the corner that make you dance. That is the clever answer, but actually we just wanted to see how many different ways people come up with pronouncing the name. Voodoo 5 is the current favourite we have heard.

Your sound blends funk, psychedelia and rock in a way that feels both classic and modern. Which artists or albums had the biggest influence on shaping the VoodooV sound?

I think the most obvious ones early on were Hendrix, The Red Hot Chili Peppers, The Mars Volta. After the first releases our guitarist got really into old synths and we started to introduce more indie sounds similar to MGMT and Tame Impala. Synths and electronic elements have helped us to bring the psych thing forward at our live shows as well. There are couple Austrian bands also to mention - a funk rock group called Mother's Cake and a psych rock band Spiral Drive. Spiral Drives Raphael Neikes actually produced our second album. It was super cool because we have been fans of his work for a while. Working with him really helped to get our own voice come out. As you said it is a mix of things and we are always talking about different ways to evolve the sound. I think some fans would be confused hearing the stuff blasting in our tour van, pretty much anything goes.

You're currently taking your music across Europe before heading out to Japan. What excites you most about playing to audiences in different countries, and have any particular cities surprised you so far?

Every evening so far has been a surprise since the venues and cities are new to us haha. It is our first longer tour abroad so we really had no idea what to expect. So far we have been really happy to see how the crowd reacts. Our presence outside Finland has been mostly online, so it is really nice to finally meet our fans. It kind of doesn't feel real before you get to actually see the fan who sings the lyrics while we are playing and comes talk to us after the show. To put it short we have been really happy with the warm welcome we have been getting from people. What is also really cool is that it seems like at this level people in the business are trying their best to help each other out when they can. We have met quite the characters on the road that I don't think we would have if we didn't have to do everything out of our own pockets, sleeping where ever we can and so on. Every coin has two sides. Like a palindrome.

Japanese music fans have a reputation for being incredibly passionate and knowledgeable. What are your expectations for the upcoming Japan tour, and is there anything you're especially looking forward to experiencing while you're there?

The shows we play in Japan are a bit different from the European dates. In Europe we are mostly headlining, but in Japan we play together with the local bands during the evenings. The level musicianship and the scene in Japan is absolutely insane, so we are looking forward to the challenge to keep up with the wonderful artists we are going to meet and hear. As you said, the audience has a reputation as well and if the reaction over there is anything like here in Europe the shows are going to be a dream come true.

If you could curate the ultimate VoodooV festival, which five artists, past or present, dead or alive, would be on the bill and who would headline?

Funny that you ask that, another legacy of the early days is that we started to organize small a festival every year to celebrate the end of summer with a small group of people. There are a lot of musicians and DJs in our friend group, so the perfumers and the audience there is basically the same group. Totally open stage and jams going on when anyone is up for it. We actually talked about making the festival bigger at some point but decided that it would ruin the vibe and transform it into something that would potentially lose the magic. We are pretty sure mr. Hendrix would have a good time there though. Really wonder what he would think about the suomisaundi DJ sets in the morning hours.

Imagine you're hosting the ultimate VoodooV dinner party. What's on the menu, who gets invited, and what's playing on the stereo while everyone eats?

Oh man, this is a tough one. We just talked in the tour van what is everyone's preference kitchen in the world and there really was no consensus. So like our musical influences it would probably be a Japanese omakase to someone, good Italian pasta for another, Indian masala dosa on the side and so on. The playlist would probably make no sense at all. The invite list would look similar to our festival - our friends and anyone they can vouch for as a good fit into the group.

Every band has its quirks. What's the strangest, funniest or most unexpected fact that fans might not know about VoodooV or one of its members?

We have existed as a group for a while now, so there is no lack of inside jokes. But one of the most long lasting ones is that our bassist Pekka is actually an undercover cop just waiting for the right day to bust everyone.

Your music seems to thrive on chemistry and spontaneity. How much of the songwriting process comes from structured ideas versus simply jamming and seeing where the music takes you?

Again it is a mix. We do talk about the process before starting to write an album and try to give each album a twist that hopefully serves the music we are trying to create. Making just one song is a long chain of decisions so every part of it makes an impact. So if you change the process you change the outcome. There are no rules, just this goal of trying to get the music out the best way we can. Even if the process has a structure you have to always let the music write itself, if you have to force something that usually means it doesn't work. Lately it has been feeling like a more structured thing, since there are so many song ideas we want to finish in a limited time. We have been talking about changing things a bit more to the opposite end of things for our fourth album, since musically that approach will fit it better. It probably tells you something about the amount of ideas that we mention the fourth album when the third one isn't even finished yet haha. When you have a lot of ideas it is more about finding the core message or theme of the thing and refining it the best you can, both for recorded and live version. That refining stage is usually the most collective part in our process.

You've already built momentum with your debut album and subsequent releases. What's next for VoodooV, and can fans expect new music in the near future?

After the tour we are heading straight back to the studio to finish writing and recording our third album. It is a lot of work since it is going to be a double album. While we finish the songs we are going to release them throughout the year, so yeah, a lot of new music coming your way! We are also looking forward to playing more shows in Europe and hopefully in the UK after we finish (the album), but doing everything on a strong DIY basis it is a 'situation normal catastrophe' and can't make too serious promises. But one thing is for sure, we will keep going and really want to keep seeing people letting go and dance at our shows.

From late-night jam sessions and summer gatherings among friends to international tours and an ambitious double album on the horizon, VoodooV remain guided by the same spirit that brought them together in the first place. Their story is one of organic growth, creative freedom and a belief in music's ability to connect people beyond borders and language. With new material arriving throughout the coming year and plans to bring their infectious live show to even more audiences, the future looks bright for the Finnish collective. Whatever twists and turns lie ahead, one thing seems certain: VoodooV will keep pushing forward, inviting audiences to leave their worries behind and lose themselves in the music, if only for a little while.

Keep up to date with their musical movements via INSTAGRAM

There is something refreshingly genuine about Bottlemoth. Formed from the ashes of previous projects and built on years of friendship, the band have wasted little time establishing themselves as one of the UK's most promising emerging alternative acts. Drawing influence from emotionally resonant heavyweights such as Manchester Orchestra, Frightened Rabbit, The Gaslight Anthem and Jimmy Eat World, Bottlemoth have crafted a sound that balances intimacy with widescreen ambition. We caught up with Ethan from the band to discuss Bottlemoth's origins, life on the road with The Lemonheads, the realities of DIY music, and why staying true to themselves remains at the heart of everything they do as they look towards an exciting future.

Let's start at the beginning. How did Bottlemoth come together, and what was the spark that convinced you this group of musicians had something worth pursuing?

Bottlemoth was born out of other bands coming to a close. The 5 of us are long friends, and we had a lot of material to get us started. That first year we were running straight out of our debut album, getting into shows and starting to get the name out into the world.

Many bands have a story behind their name. We assumed Bottlemoth might actually be a species of moth (we discovered it’s not!). What's the real story, and how did you settle on it?

Ah! I wish there were more meaning. A long evening of us all sat around my kitchen table, pushing words together until we had something that was brand new. Something that meant nothing yet, but could describe us in the long term. Lots of cool ideas from that night, but Bottlemoth was the stand out. 

Bottlemoth is still a relatively new band, but the members have plenty of experience behind them. What lessons from previous projects have you brought into this chapter?

We’ve all been in bands since our early teens, and there’s waves to all that. Lots of amazing memories on our past tours, working hard on making it happen. Without speaking for the guys, I think the biggest thing I’ve learned is to stay true to your own sound. It’s gotta be fun, you’ve gotta be passionate about it, and hopefully this all leads to your best work. 

Your music feels both intimate and expansive. Which artists, albums or songwriters have had the biggest influence on the Bottlemoth sound?

Thanks very much! 

I’d say my biggest influences are Manchester Orchestra, Frightened Rabbit, The Gaslight Anthem, Jimmy Eat World, Wonder Years. All of them are real masters of that dynamic style that we’re still aiming for. 

Who are some of the artists, bands or creatives in your circle that our readers should be keeping an eye on right now?

It’s a great question, and lots of great pals making wonderful music. Some of our faves from this year are China Bears, DaySleeper, Noah Villeneuve, Truck, Adult Leisure, Dutch Criminal Record, Jim Lockey - we are spoilt

Supporting The Lemonheads across six UK dates must have produced a few stories for the tour scrapbook. What's your favourite memory from those shows, and did anything happen that still makes the band laugh today?

It was a lush week of shows and magic to be out with The Lemonheads. Some of the biggest shows we’ve played as Bottlemoth, and super grateful for that. Loads of hangs and we met so many cool new people!

The biggest laugh I had was with Matt where an air BnB address took us to a stable in the middle of nowhere one night. For a moment we thought Henry had booked something weird, and we were worried we’d be sharing a room with horses. Eventually found the right spot, but odd!

Every band dreams about playing the perfect festival. If Bottlemoth could curate their own one-day event, which five artists are on the bill alongside you, living or dead?

For me, it would have to be Motörhead, Jimmy Eat World, The Gaslight Anthem, Manchester Orchestra, Frightened Rabbit 

Away from music for a moment. If Bottlemoth appeared on Come Dine With Me, who's hosting, what's on the menu, who's washing up and who would be the first to criticise the food?

It’d be very different for each of us, few vegans and veggies in the band. If I am hosting, I’m an avid chicken wing and burger fan. So I’m saying Buffalo Wings, into smash burgers, into a New York cheesecake. 

The dishwasher can handle all the washing up, and the rest of the guys can criticise for not being able to join this time.

Keeping with the dinner party theme, you can invite three guests from any era, dead or alive. Who gets a seat at the table? 

Lemmy, Bowie, Scott Hutchinson - some collective heroes here 

What's being played in the background while dinner is served? Give us the soundtrack to the perfect Bottlemoth evening.

Maybe something wild but instrumental so can float into the background, like the Cowboy Bebop soundtrack  

Touring can be glamorous in photos and chaotic in reality. What's the most memorable, funny or completely unexpected thing that's happened to you on the road so far?

It’s a hustle when not hiring a van, and on these dates we were in a couple of cars. Do our best to not sleep on floors or sofas like our first touring days!  

The most memorable moment though has been our Little Rock holiday to the Isle of Wight Festival last summer. Super to be invited to perform at the festival, then a magic afternoon down on the beach before heading home. Bring on more rock holidays! 

What has been the biggest challenge you've faced as a band since launching Bottlemoth, and how did you overcome it?

I think starting a new band is always hard to get the name out there, and we are still working on that. DIY promo is also a minefield - everything’s always changing. We’re always learning though, always pushing, and dead excited for all we’re working on. 

When you look ahead to the next twelve months, what can fans expect? New music, touring, festivals, surprises?

We’re currently working on finishing our second album - all the songs are there, just getting them recorded and mixed!

We’ll definitely be on the road again as soon as we can, and hopefully at a chunk of festivals too next summer if all the stars align

If someone discovers Bottlemoth for the first time tomorrow, which song should they listen to first and what should they know before pressing play?

Personally, I’m dead proud of our latest two singles Lilac and Suki. Both showcase where our sound is heading, and I’m so excited for that. Produced by us, mixed by Matt in the band. The thing to know is we write about what we know - our friends, family, loved ones.. Our goal has always been to make music that is dynamic and relatable, as well as memorable. 

Finally, every great interview needs a great cheese question. What is your favourite cheese, and exactly how should it be served? Crackers? Crusty bread? Pickled onions? Chutney? Grapes? Paint us the perfect cheese board.

I’m a smoked cheddar fan, which Chessa will say is boring. Chessa’s really into blue cheese, which I think is a bit gross. Matt would bring a vegan cheese that we’d all tuck into as well. I’m not sure what Henry and Tom would bring along - hopefully a brie and a melted Camembert with lots of bread for dipping. It’d be rude to not have crackers, pickled onions and chutney too now you’ve said it!

With a second album currently taking shape and more touring firmly on the horizon, Bottlemoth are a band moving forward with quiet confidence and a clear sense of purpose. Their songs are rooted in the people and experiences closest to them, creating music that feels both deeply personal and instantly relatable. Whether it's the soaring emotion of recent singles Lilac and Suki, memorable festival adventures, or ambitions for bigger stages ahead, Bottlemoth remain focused on growth without losing sight of what matters most: friendship, authenticity and writing songs that genuinely connect. Judging by their momentum so far, this is only the beginning of the journey.

Keep up to date with Bottlemoth via INSTAGRAM

Over the past decade, Brooklyn's DIARY have quietly carved out a sound that threads together post-punk urgency, shoegaze atmosphere, jangly indie melodies and psychedelic textures into something distinctly their own. With the release of their debut album Spiral Bound, the band have delivered a record that feels both steeped in beloved influences and refreshingly unpretentious. We caught up with Chris to discuss the band's origins, the creative journey behind the album, navigating New York's ever-evolving independent music scene, and why sometimes the best solution to a setback is simply to write another song.

Let's start at the beginning. When and how did DIARY come together, and what was the spark that convinced you this was more than just another rehearsal-room project?

Kevin and I have been friends for a long time. We went to college together a bajillion years ago and first became friends there, but we didn’t start playing music with each other until we had both been living in New York City for a little while.

The original incarnation of the band came together around 10 years ago when our other separate music projects had either broken up or fizzled out and I think we were just looking to start something new that more aligned with where our tastes were leaning at that time.

It started off with just Kevin, myself, and our buddy Andy and I think right from the jump it felt good. We had all been friends for years, had the same sort of sense of humor, and we had similar ideas for the sonic palette we wanted to pull from in making music together.

Andy decided he was ready to move on from the band about 5 years back, so the lineup and the sound might be a bit different these days, but I think it still feels special for those same reasons as when we started: we get along with the people we play with and we like the music we’re making.

Your sound pulls from post-punk, shoegaze, psychedelia and jangly indie rock. Which artists or albums have had the biggest influence on DIARY, and are there any unexpected inspirations people might not guess?

Oh man. I’m just gonna name a bunch: Ride, The Stone Roses, The Smiths, My Bloody Valentine, Echo & the Bunnymen, The Jesus and Mary Chain, Primal Scream, Dinosaur Jr, all The Flying Nun stuff, The Beatles, and The Byrds, just to name a few!

As far as unexpected inspirations go… I grew up listening to and playing in hardcore bands, but I’m not sure if any of that really manifests itself in Diary. There’s probably little transitions and rhythmic things that I drop here and there that I have in my toolkit from back then.

Brooklyn has a rich musical history, but scenes are always evolving. What's the atmosphere like for independent bands in Brooklyn right now, and where do you feel DIARY fits into that landscape?

The music scene out here is great, but it can also be tricky to navigate. There’s so many talented musicians out here and any night of the week there’s a million things to do, so it’s not always the easiest to cut through. There’s also a ton of little micro scenes within the overarching music scene out here. I guess because we cover a lot of ground stylistically we’ve been able to kind of hop in and out of those little micro scenes easier than some bands.

Your debut album Spiral Bound has a distinctive blend of atmosphere, melody and texture. What was the creative journey behind the record, and what lessons did you learn while making it?

Thanks for saying that! When we started writing for the album we didn’t have an overarching vision or a theme we were going for - we basically just wrote the kind of songs we wanted to hear.

We started working on the record pretty soon after our first EP with Kanine Records (“The Cutting Garden”). Long story short, we ended up doing another EP (“Speedboat”) and a standalone single (Stevie) during that time, and 3 of the songs from those releases were actually originally intended for the full length. It was honestly for the best though because the songs we wrote to fill those gaps on the album ended up as two of the singles (“Keep Comin’ Up” and “Spin the Bottle”) and another one that’s just fun as hell (“Already Dead”).

I think that was the biggest lesson I learned from this whole process: that not everything works out exactly the way you want it to, so just shut up and write more music :)

Now that Spiral Bound is a month old, is there one song that best captures the essence of DIARY at this moment in time, and why does that track feel so representative?

I’m going to say “Keep Comin’ Up” simply because it’s the last song we wrote for the record, it’s the most recent addition to our live set, and I feel like it’s a good example of us playing with different styles in interesting ways.

Every band dreams about the perfect festival bill. If DIARY could curate a three-day event and choose the headliners for each night from any era, who would make the cut and what makes that lineup irresistible?

Ahhh this question is impossible! Any era?? Alive or dead?? Ok, I’ll give it a whirl:

Night 1 Headliner: Post-Punk Supergroup featuring Ian McCulloch on vocals, Robert Smith on vocals and guitar, Johnny Marr on guitar, Peter Hook on bass, and Budgie on drums
Night 2 Headliner: Bowie with guest spots from Marc Bolan, Iggy Pop, and Lou Reed
Night 3 Headliner: The Beatles playing Revolver front to back

DIARY are hosting the ultimate dinner party. What's on the menu from starter to dessert, who's invited (living or dead, musicians or otherwise), and why did those guests make the list?

Menu: the appetizer is just a bag of cool ranch Doritos, the main course is pizza, and the dessert is just lots of Kinder chocolate

Invited: David Lynch, Werner Herzog

Why David Lynch and Werner Herzog?: why not

As the dinner party unfolds, what's playing in the background? Give us the soundtrack for the evening and tell us which albums or artists are setting the mood.

Playing in the background: The song from the end of The Shining (“Midnight, the Stars and You”) all night…..

Here at musomuso we take the important questions seriously: what is DIARY's favourite cheese, and exactly how should it be served? Bread, crackers, pickles, chutney, wine pairings, accompaniments, the lot. We need the full gourmet breakdown.

I don’t want to speak for the whole band, but for me, the top cheese is Camembert. A fresh out of the oven baguette + Camembert is all you need. Wine in this situation would be Pinot Noir

For readers discovering DIARY for the very first time through musomuso, what's the one thing you'd like them to know before they press play on Spiral Bound?

You’re in for a treat!

From college friendships that evolved into a decade-long musical partnership to a debut album built on instinct, perseverance and a love of great records, DIARY remain a band driven by authenticity rather than expectation. Whether they're channelling influences from Ride and The Jesus and Mary Chain, imagining impossible festival line-ups, or pairing Camembert with a fresh baguette and Pinot Noir, there's a genuine warmth running through everything they do. As Spiral Bound continues to find new listeners, one thing is clear: DIARY have created a record full of atmosphere, melody and character, and as Chris confidently promises, anyone pressing play is most definitely "in for a treat."

Keep up to date with the musical happenings of the band at the following places

website: Diary.Band

bandcamp: @diarytheband

spotify: Diary

instagram: @diarysounds

tiktok: @diarytheband

Some gigs are memorable because of the music. Others linger because of the occasion. For those gathered at The Foundry in Torquay, Kris Barras's final live performance delivered both.

From the moment the lights dimmed, there was a palpable sense that this was more than just another date on a tour schedule. Fans packed into the venue knowing they were about to witness the closing chapter of a remarkable period in Barras's career. The anticipation was tangible, and as the band took to the stage, it quickly became clear that the evening would live long in the memory.

Barras has built a reputation on blending blues-infused guitar brilliance with hard-hitting modern rock, and throughout the night he demonstrated exactly why he has become one of the UK's most respected rock performers. His guitar work was nothing short of exceptional, weaving moments of finesse and ferocity into every song. Whether delivering soaring solos or bone-rattling riffs, Barras played with the confidence and conviction of an artist determined to leave everything on the stage.

Vocally, he was equally impressive. His unmistakable voice carried both power and emotion, connecting instantly with an audience who sang, cheered and celebrated every moment. There was a raw honesty to the performance that elevated it beyond a standard rock show. Every note felt significant, every song delivered with the knowledge that this particular journey was reaching its conclusion.

Supporting proceedings were American alternative rock favourites 10 Years, who provided a perfect counterpoint to the night's headliner. Their set combined atmospheric textures, crushing riffs and an abundance of energy, immediately winning over the Torquay crowd. Powerful choruses echoed around the venue as they delivered a performance packed with intensity and precision, reminding everyone why they continue to command such a loyal following.

Together, the two acts created a compelling double bill. Barras brought the blues-soaked swagger and guitar-led firepower, while 10 Years delivered a darker, alternative edge. The combination ensured there was never a dip in energy throughout the evening, with the audience fully invested from start to finish.

The Foundry itself proved the ideal setting. Intimate enough to create a genuine connection between performers and audience, yet loud enough to let the music hit with full force, it provided the perfect backdrop for a night fuelled by passion, volume and shared appreciation. As the crowd packed tightly together, singing back lyrics and applauding every solo, it served as another reminder of the unique magic that only live music can create.

As the final notes rang out and Barras took his last bow, the sense of occasion became impossible to ignore. There was celebration, admiration and perhaps a touch of sadness among those present. While the future may hold new opportunities and fresh challenges, this felt like the end of an important chapter for both the artist and the fans who have followed his journey.

If there was ever a way to sign off, this was it.

A night of exceptional musicianship, thunderous rock and genuine emotion, crowned by a performance worthy of the occasion. Torquay was treated to something special, and those fortunate enough to be there witnessed a farewell that was every bit as powerful as the legacy Kris Barras leaves behind.

Words & Pictures by Martha Fitzpatrick

Forty years after first rattling speakers and dividing opinion, Orgasmatron remains one of the most fascinating albums in Motörhead's formidable catalogue. Released during a period of transition for the band, its distinctive production, towering songs and uncompromising attitude ensured it would stand apart from everything that came before and after. Now, with a brand-new remix from longtime Motörhead collaborator Cameron Webb, the album is being reintroduced to a new generation while inviting longtime fans to hear a familiar favourite in a completely different light.

As part of the ongoing 40th anniversary celebrations, Motörhead have unveiled 'Built For Speed' as the second single from Webb's newly remixed edition of the album. Few tracks encapsulate the band's relentless philosophy better. Driven by Lemmy's unmistakable bass tone, razor-sharp riffs and a no-nonsense sense of purpose, it's a song that has become synonymous with Motörhead's live legacy. Accompanied by a new animated lyric video created by Lee Gregory of ILoveMotion, the track offers fans another taste of what's to come from this ambitious anniversary project.

The story behind Orgasmatron has always been as compelling as the music itself. Produced by the acclaimed Bill Laswell, the album's original release sparked plenty of discussion among both band members and fans. While many praised its adventurous sound and expansive sonic approach, others felt some of Motörhead's trademark aggression had been softened in the process. Yet beneath that debate sat a collection of songs that would become essential parts of the band's identity.

Tracks such as the monumental title track, 'Deaf Forever' and 'Built For Speed' quickly established themselves as fan favourites and live staples. Blending heavy metal, hard rock and punk with a confidence few bands could match, Orgasmatron carved out its own unique space within the Motörhead canon. Four decades later, its influence and reputation continue to grow.

That legacy is at the heart of the forthcoming 40th Anniversary Edition. Alongside a remastered version of the original album, the collection features Cameron Webb's complete remix created from the original multi-track recordings. Also included are studio rehearsals, outtakes from 1985 and the complete BBC Radio 1 Friday Rock Show session recorded during the Orgasmatron era. Available across several formats, including deluxe vinyl and CD editions, the release aims to celebrate both the album itself and the period that produced it.

For Webb, the opportunity carried particular significance. Having discovered Orgasmatron as a teenager, he describes the album as one of the defining records of his youth. Rather than pursuing a modern overhaul, his goal was to uncover details hidden within the original recordings while preserving the character that made the record so distinctive.

That respectful approach appears central to the entire project. The intention was never to replace Bill Laswell's original vision, but instead offer an alternative perspective on an album that has long inspired debate among Motörhead fans. Webb sought to enhance the weight of the bass, sharpen the guitar presence and reveal additional nuances while maintaining the personality embedded within the original recordings.

It's an intriguing proposition for listeners. Some will no doubt remain loyal to the original mix, while others may welcome the opportunity to hear Orgasmatron with renewed clarity and power. Either way, the anniversary edition highlights something that has become increasingly apparent over the years: this is not simply another Motörhead album. It is one of the band's boldest artistic statements, a record that challenged expectations and refused to conform.

Forty years on, Orgasmatron still sounds like a machine fuelled by rebellion, volume and attitude. Whether you're revisiting it for the hundredth time or discovering it for the first, this anniversary edition offers a compelling opportunity to experience one of Motörhead's most distinctive creations from an entirely new angle. Lemmy famously lived life at full throttle, and judging by the renewed excitement surrounding Orgasmatron, this classic album remains exactly what its latest single promises: built for speed.

See below for full details of the Orgasmatron 40th releases and be sure to visit www.iMotorhead.com for news and updates!

ORGASMATRON TRACKLISTING
3LP VERSION

LP1 – 40TH ANNIVERSARY MASTER
SIDE A
1. Deaf Forever          
2. Nothing Up My Sleeve       
3. Ain't My Crime       
4. Claw
5. Mean Machine       
 
SIDE B
1. Built For Speed      
2. Ridin' With The Driver
3. Doctor Rock
4. Orgasmatron          
 
LP2  – CAMERON WEBB 40TH ANNIVERSARY REMIX
SIDE A
1. Deaf Forever          
2. Nothing Up My Sleeve       
3. Ain't My Crime       
4. Claw
5. Mean Machine       
 
SIDE B
1. Built For Speed      
2. Ridin' With The Driver       
3. Doctor Rock
4. Orgasmatron
 
LP3  - REHEARSALS, OUTTAKES AND SESSIONS
SIDE A
1.  Orgasmatron & On The Road  (Studio Rehearsal  - 1985)
2.  Nothing up My Sleeve  (Studio Outtake – 1985)
3. Doctor Rock & Ridin’ With The Driver  (Studio Rehearsal  - 1985)
 
SIDE B             
4.  Claw (Alternate Version)
5.  Mean Machine (Studio Outtake – 1985)
6.  Killed By Death (BBC Radio 1 Friday Rock Show)
7. Orgasmatron (BBC Radio 1 Friday Rock Show)
8. Doctor Rock (BBC Radio 1 Friday Rock Show)
9. Deaf Forever (BBC Radio 1 Friday Rock Show)
10. Orgasmatron (Spoken Word) (BBC Radio 1 Friday Rock Show)
 
2CD VERSION
 
CD ONE
40TH ANNIVERSARY MASTER
1. Deaf Forever          
2. Nothing Up My Sleeve       
3. Ain't My Crime       
4. Claw
5. Mean Machine       
6 Built For Speed       
7. Ridin' With The Driver       
8 Doctor Rock
9. Orgasmatron          

OUTTAKES, REHEARSALS (1986)
10. Orgasmatron & On The Road  (Studio Rehearsal  - 1985)
11.  Nothing up My Sleeve  (Studio Outtake – 1985)
12.  Doctor Rock & Ridin’ With The Driver  (Studio Rehearsal  - 1985)
13.   Claw (Alternate Version)
14 .  Mean Machine (Studio Outtake – 1985)
 
CD TWO
 CAMERON WEBB 40TH ANNIVERSARY REMIX (2026)
1. Deaf Forever          
2. Nothing Up My Sleeve       
3. Ain't My Crime       
4. Claw
5. Mean Machine       
6. Built For Speed      
7. Ridin' With The Driver       
8. Doctor Rock
9. Orgasmatron          
 
RADIO ONE FRIDAY ROCK SHOW (1986)
10. Killed By Death (BBC Radio 1 Friday Rock Show)
11. Orgasmatron (BBC Radio 1 Friday Rock Show)
12. Doctor Rock (BBC Radio 1 Friday Rock Show)
13. Deaf Forever (BBC Radio 1 Friday Rock Show)
14. Orgasmatron (Spoken Word) (BBC Radio 1 Friday Rock Show)

For a band whose reputation has been built as much on the unpredictability of the stage as the brilliance of the studio, Big Thief's latest project feels less like a release and more like an invitation. The celebrated American outfit have unveiled the Big Thief Live Archive, a new online destination designed to document and celebrate the band's constantly evolving live performances, offering fans unprecedented access to recordings spanning recent and historical tours.

Anyone who has experienced Big Thief in concert will understand why this archive matters. While many artists aim to faithfully recreate their recordings on stage, Big Thief have long embraced transformation. Songs stretch, contract, mutate and reveal new dimensions from night to night. It is this restless creativity that has earned them praise from critics and audiences alike, with their live performances frequently cited as among the most captivating in contemporary music.

Following the release of their acclaimed album Double Infinity last year, the band are now turning their attention to preserving the fleeting moments that occur when songs leave the studio and take on lives of their own in front of audiences. The newly launched archive debuts with ten complete concert recordings, each captured by front-of-house engineer Alice Wilder and monitor engineer Aleda Deroche, before being mixed by 4AD's Fabian Prynn. Rather than functioning as a static repository, the collection will continue to grow, with a new show added on the second Tuesday of every month.

What makes the project especially appealing is its interactive nature. Inspired by drummer James Krivchenia's admiration for the legendary Grateful Dead's live recording culture, fans can build personalised playlists, selecting favourite performances from across the archive to create their own bespoke Big Thief live experience. It's a concept that perfectly reflects a band that has always encouraged a deeper relationship between artist and listener.

To accompany the archive's launch, Big Thief have shared a live version of "Incomprehensible", recorded at Dublin's 3Arena on 29 April 2026. Originally a standout moment on Double Infinity, the performance offers a timely reminder of the emotional depth and spontaneity that define the band's live shows. It also provides a glimpse of the treasures awaiting listeners within the archive itself.

In a statement announcing the project, the band explained that the idea stemmed from a desire to document what they describe as the "ever-undulating aliveness" of their music. Having recorded every show since around 2019, the archive represents years of performances, memories and musical evolution. Better still, it remains entirely free to access, reinforcing Big Thief's community-minded approach and their commitment to sharing the journey with fans.

At a time when live music can often feel ephemeral, the Big Thief Live Archive serves as both a historical record and a living, breathing extension of the band's artistic identity. For longtime followers and curious newcomers alike, it offers a unique opportunity to explore how songs evolve, discover hidden gems, and experience the remarkable chemistry that has cemented Big Thief as one of the defining bands of their generation.

The best live recordings don't simply preserve a performance; they reveal something new each time you return to them. With the launch of the Big Thief Live Archive, the band have created a space where fans can witness that continual process of discovery. As new recordings arrive month after month, the archive promises to become an essential destination for anyone who believes that some of music's most magical moments happen when the lights go down and the unexpected takes over.

BIG THIEF ONLINE

Official Site | Instagram | YouTube

Fresh from a breakthrough year that firmly established them as one of alternative punk's most exciting voices, Nashville trio Winona Fighter are wasting little time in building on that momentum. Their second album, Brutal & Extremely Underrated, arrives on 22 January 2027 via Rise Records, and if the band's own enthusiasm is anything to go by, they're about to deliver something even bigger, louder and more fearless than their acclaimed debut.

For a band that has built its reputation on authenticity, emotional honesty and an unfiltered DIY ethos, this sophomore release feels less like a follow-up and more like a declaration of intent. With new single "LEECH" already setting the tone, Winona Fighter appear determined to prove that their rapid rise was only the beginning.

Following the success of 2025's My Apologies To The Chef, Winona Fighter found themselves facing the challenge that confronts every emerging band: how do you evolve without losing the qualities that made people fall in love with you in the first place?

Rather than playing it safe, the trio embraced growth.

Guitarist Dan Fuson describes an album created with greater confidence and stronger collaboration, while vocalist and drummer Coco Kinnon speaks passionately about delivering something genuine in an increasingly artificial world. Bassist and producer Austin Luther echoes those sentiments, highlighting the band's determination to push forward while remaining faithful to the hard-hitting melodies that have become their trademark.

That confidence runs throughout Brutal & Extremely Underrated. The title itself reflects both personal struggles and the band's own perception of their place within the modern punk landscape. Drawn from a lyric on album track "SELF AFFIRMATIONS", it captures themes of self-worth, resilience and the determination to keep pushing forward.

Where much of the band's debut grappled with internal anxieties and personal battles, the new record broadens its focus.

The songs tackle everything from insecurity and friendships to political unrest, social division and distrust of authority. It's a shift that reflects both the band's increasing self-assurance and the turbulent world around them.

Tracks such as "BOMBS AWAY" showcase that evolution most clearly. Described as one of the album's most overtly political moments, the song channels frustration and anger into a blistering punk assault inspired by contemporary immigration raids across the United States.

Yet despite its heavier themes, the record remains rooted in the emotional honesty that has always defined Winona Fighter. The band balances aggression with vulnerability, creating songs that feel equally cathartic and relatable.

Authenticity has become one of the defining themes surrounding Brutal & Extremely Underrated.

Recorded across two sessions in a Nashville garage, one of which took place during a brutal ice storm that left much of the city without power or heat, the album captures a sense of urgency and rawness that couldn't be manufactured.

The band once again self-produced the record, with Luther overseeing the sessions before Grammy Award-winning engineer Greg Collins stepped in to handle mixing duties. The result is a collection of songs that feels immediate, energetic and unapologetically human.

That spirit is perhaps best represented by standout single "LEECH", a grungy and self-aware track inspired by Kinnon's experience of reading online criticism of the band's debut. Elsewhere, collaborations and personal stories add further depth, including "Lily Cut Her Hair", written alongside PUP frontman Stefan Babcock, and the angular closing track "Title (REDACTED)", which explores concerns surrounding AI and modern culture.

In an era where technology increasingly blurs the line between genuine artistic expression and algorithmic output, Winona Fighter have chosen to emphasise what makes music resonate in the first place: real people, real emotions and real imperfections.

The announcement arrives at a time when Winona Fighter's profile continues to grow at an impressive pace.

Recent months have seen the band sharing stages with Honey Revenge, South Arcade, Games We Play and Chase Petra on the idobi Radio Summer School Tour, while appearances alongside Shinedown and slots at Vans Warped Tour events in Long Beach and Mexico City have expanded their audience even further.

With a return to Vans Warped Tour in Orlando, a high-profile support slot with Taking Back Sunday and an extensive US headline tour scheduled for early 2027, the trio are entering their next chapter with significant momentum behind them.

If My Apologies To The Chef introduced Winona Fighter to the wider alternative music world, Brutal & Extremely Underrated looks set to cement their reputation. Louder, sharper and more self-assured than ever, the Nashville trio have created a record that embraces both rage and hope while refusing to sacrifice the authenticity that got them here in the first place.

And judging by the raw conviction behind "LEECH" and the band's own confidence in the material, Winona Fighter may not remain underrated for much longer.

Brutal & Extremely Underrated Tracklist:

1. TV On The Radio

2. BOMBS AWAY

3. LEECH

4. DEAD HORSE

5. You Don’t Have A Clue

6. SELF AFFIRMATIONS

7. HAWK FOOT

8. OUT! THERE!

9. Lily Cut Her Hair

10. PARA SIEMPRE

11. BULLY BUSTER

12. Title (REDACTED)

Upcoming Tour Dates:

November 14, 2026 – Orlando, FL @ Vans Warped Tour *
December 12, 2026 – Sayreville, NJ @ Starland Ballroom (w/ Taking Back Sunday)
January 21, 2027 – Bentonville, AR @ Momentary Rode House
January 22, 2027 – Dallas, TX @ AM/FM
January 23, 2027 – Austin, TX @ Brushy Street
January 24, 2027 – San Antonio, TX @ Paper Tiger
January 26, 2027 – Phoenix, CA @ Crescent
January 28, 2027 – San Diego, CA @ Soma Side Stage
January 29, 2027 – Santa Ana, CA @ Constellation Room
January 30, 2027 – Los Angeles, CA @ Roxy
January 31, 2027 – San Francisco, CA @ Independent
February 2, 2027 – Sacramento, CA @ Starlet Room @ Harlows
February 4, 2027 – Portland, OR @ Aladdin
February 5, 2027 – Vancouver, BC @ Fox Cabaret – MRG
February 6, 2027 – Seattle, WA @ Neumos (Daydream State)
February 8, 2027 – Salt Lake City, UT @ Kilby Court
February 10, 2027 – Denver, CO @ Bluebird
February 12, 2027 – Kansas City, MO @ recordBar
February 13, 2027 – St. Louis, MO @ Old Rock House
March 4, 2027 – St. Paul, MN @ Amsterdam
March 5, 2027 – Chicago, IL @ The Bottom Lounge
March 6, 2027 – Indianapolis, IN @ HiFi
March 7, 2027 – Detroit, MI @ Catacombs
March 9, 2027 – Toronto, ON @ Garrison
March 11, 2027 – Philadelphia, PA @ First Unitarian Church
March 12, 2027 – New York, NY @ Bowery Ballroom
March 13, 2027 – Boston, MA @ Paradise Rock Club
March 14, 2027 – New Haven, CT @ Space
March 16, 2027 – Washington, DC @ The Atlantis
March 18, 2027 – Raleigh, NC @ Motorco
March 19, 2027 – Charlotte, NC @ Neighborhood – Side Room
March 20, 2027 – Atlanta, GA @ Loft at Center Stage
March 26, 2027 – Nashville, TN @ The Basement East
September 9–13, 2027 – Miami, FL @ Shattered Shores Cruise *


BRUTAL & EXTREMELY UNDERRATED OUT 22ND JANUARY 2027 VIA RISE RECORDS

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For a band that built its reputation on unpredictability, sensory overload and a gleeful disregard for convention, The Butthole Surfers continue to prove that their catalogue remains as compelling and essential as ever. Now, Matador Records is opening another chapter in the story of one of alternative rock's most influential and uncompromising outfits with the latest instalment of its ongoing reissue campaign.

Arriving on 11 December, newly remastered editions of Piouhgd and Humpty Dumpty LSD bring two fascinatingly different snapshots of the Texas legends back into focus. While both releases showcase the band's unmistakable blend of psychedelic experimentation, punk energy and surrealist humour, they capture distinctly different eras in the Butthole Surfers' remarkable evolution.

Released originally in 1991, Piouhgd found the band standing at a crossroads. Having spent much of the 1980s cultivating a reputation as one of underground music's most notorious live acts, The Butthole Surfers were beginning to brush against wider mainstream recognition. It was a period where the alternative rock landscape was rapidly changing, yet the band remained defiantly themselves.

The album is a fascinating document of that transition. Face-melting guitar work collides with the group's trademark absurdity, while unexpected moments of accessibility emerge through the chaos. Their warped take on Donovan's classic "Hurdy Gurdy Man" demonstrates the balance perfectly, simultaneously unhinged and strangely irresistible. Even amid increasingly visible exposure, The Butthole Surfers continued to challenge expectations, creating music that refused to fit comfortably into any category.

If Piouhgd captures a band moving forward, Humpty Dumpty LSD serves as a celebration of where that journey began. First released in 2002, the compilation gathers material from the Surfers' legendary mid-1980s period, an era many fans consider the group's creative peak.

Across 19 tracks, listeners are treated to a vivid portrait of a band operating at full psychedelic throttle. The collection showcases the raw invention, fearless experimentation and acid-soaked intensity that helped establish The Butthole Surfers as underground icons. Among the highlights is "Sherman (Backass Alt.)", an alternative version of a track later reworked for Hairway to Steven, now becoming available digitally for the first time.

Few bands have left a fingerprint on alternative music quite like The Butthole Surfers. Formed in 1981 by vocalist Gibby Haynes and guitarist Paul Leary, with drummer King Coffey joining two years later, the trio provided the stable core of a band that continually reinvented itself while retaining its distinctive identity. Their influence can be heard across generations of alternative, punk and experimental artists who followed in their wake.

With these latest remastered reissues, Matador continues an important archival project, ensuring that both longtime devotees and curious newcomers can experience the band's extraordinary catalogue in the best possible quality. Whether revisiting the transitional brilliance of Piouhgd or immersing yourself in the psychedelic mayhem of Humpty Dumpty LSD, one thing remains certain: The Butthole Surfers still sound unlike anyone else.

Butthole Surfers' remastered editions of Piouhgd and Humpty Dumpty LSD are released digitally now, with vinyl editions arriving on 11 December via Matador Records.

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Few acts in modern electronic music have managed to bridge underground credibility and global success quite like CAMELPHAT. Now, the Grammy-nominated Liverpool duo are set to bring their celebrated All Night Long concept to Manchester, taking over the city's iconic O2 Victoria Warehouse on Saturday 30 January 2027 for what promises to be an immersive marathon of house music, energy and connection.

Stripping away distractions and placing the focus firmly on the dancefloor, the All Night Long format is designed to create a deeper relationship between artist and audience. Rather than a traditional club set, these extended performances allow CAMELPHAT to explore the full breadth of their musical influences, taking clubbers on a journey through deep grooves, progressive textures and euphoric peaks that have become synonymous with their sound.

Since bursting onto the global stage with the era-defining anthem Cola, Dave Whelan and Mike Di Scala have established themselves as one of dance music's most influential partnerships. The track's extraordinary success opened the door to a catalogue packed with standout releases including Panic Room, Spektrum, The Sign alongside Anyma, and Night After Night on the renowned Afterlife imprint. Their ability to seamlessly blend underground house sensibilities with crossover appeal has earned them a loyal worldwide following and secured their place among electronic music's elite.

The duo's creative momentum has shown no signs of slowing. Their second studio album, Spiritual Milk, further showcased their ambition and musical evolution, while their own label, When Stars Align, has become a platform for both emerging talent and forward-thinking electronic music. Through collaborations with artists such as Kölsch, Green Velvet and ARTBAT, CAMELPHAT continue to push the boundaries of contemporary house music while maintaining the melodic depth that first captured audiences around the globe.

Recent years have also seen the pair expand their vision beyond the DJ booth. Their immersive audiovisual production Experience has travelled internationally, bringing together cutting-edge visuals and musical storytelling in major cities including Liverpool, Madrid and Istanbul. Combined with hugely successful residencies across Ibiza's most prestigious venues, including sold-out runs at Pacha and their Summer of Love series at Hï Ibiza, CAMELPHAT have demonstrated an ability to command both intimate underground spaces and some of the world's biggest stages.

Manchester's O2 Victoria Warehouse provides a fitting backdrop for the next chapter of their All Night Long series. Renowned for its industrial character and rave heritage, the venue offers the perfect environment for a performance centred on communal energy, extended musical exploration and the shared experience of losing yourself in the moment.

With a third studio album reportedly on the horizon and their global reputation continuing to grow, CAMELPHAT's return to the North West looks set to be one of the region's standout electronic music events of 2027.

CAMELPHAT: All Night Long O2 Victoria Warehouse, Manchester Saturday 30 January 2027

Tickets go on general sale at 10am on Friday 23 October via www.gigsandtours.com / www.ticketmaster.co.uk

Connect with CAMELPHAT
Website / Facebook / Instagram

With a bold artistic vision, an all-star cast of collaborators and themes that stare directly into the uncertainty of modern life, Roxanne de Bastion is entering a striking new chapter. The London-based singer-songwriter has announced her third studio album, Here Lies Human, alongside the release of its powerful new single, Apocalypse Queen, produced by legendary David Bowie and T. Rex collaborator Tony Visconti.

Set for release on 12 February 2027, Here Lies Human finds de Bastion embracing her most ambitious work to date. Written against a backdrop of environmental anxiety, rapid technological change and growing political division, the ten-track record serves as both a critique and celebration of humanity. It is a collection that examines our contradictions, our resilience and our remarkable capacity for self-destruction, whilst never losing sight of the beauty that makes us worth saving.

The first taste of the album comes in the form of Apocalypse Queen, a dramatic and empowering anthem that showcases de Bastion's evolving creative confidence. Described by the songwriter as a track about “embracing your strength, realising your power and unleashing our potential... possibly just in time for the end of days”, it builds upon the themes explored in previous single Simple Pleasures, whilst pushing further into a world of cinematic scale and sonic ambition.

Few artists can call upon the calibre of musicians assembled for the recording. Produced by Tony Visconti, the track features contributions from acclaimed saxophonist Donny McCaslin, whose work on Bowie's Blackstar remains iconic, alongside guitarist Gerry Leonard, Grammy-winning engineer Kevin Killen and drummer Gunnar Olsen. The result is a record that feels expansive, immediate and unafraid to reach for grand ideas.

For de Bastion, recording in New York became an essential part of bringing the project to life. Sessions took place across Brooklyn and Manhattan, with work completed at Human Studios, the same facility where Bowie recorded Blackstar. The energy of the city, combined with the industrial surroundings of Brooklyn's warehouse districts, provided the ideal setting for an album grappling with apocalyptic themes and questions about humanity's future.

The wider album was completed in London alongside acclaimed producer Steph Marziano, whose work with artists including Hayley Williams and Nell Mescal has earned widespread recognition. Together they have crafted a record that aims to capture the intensity and dynamism of de Bastion's increasingly celebrated live performances, favouring bold arrangements and emotional immediacy over restraint.

The announcement also marks the artist's return to extensive headline touring. Having spent recent years balancing music with the success of her acclaimed 2025 book The Piano Player of Budapest, de Bastion will embark on an eight-date UK tour in support of the new album. Fans can catch her live in Brighton, Bristol, Manchester, Liverpool, Glasgow, Newcastle, London and Cambridge during March and April 2027.

De Bastion's reputation has steadily grown through two critically acclaimed albums, support from influential broadcasters including Iggy Pop and Steve Lamacq, and praise from publications such as The Observer, NME, Record Collector and Rolling Stone. Alongside her artistic work, she has become an increasingly vocal advocate for artists' rights in the age of artificial intelligence, reinforcing a career built as much on substance as creativity.

If Apocalypse Queen is any indication, Here Lies Human promises to be Roxanne de Bastion's most fearless statement yet. Equal parts warning, celebration and rallying cry, it arrives as a reminder that even in uncertain times, great art can still challenge, inspire and bring people together.

Here Lies Human UK Tour 2027

• 15 March – Brighton, Folklore

• 17 March – Bristol, Exchange

• 18 March – Manchester, YES Basement

• 19 March – Liverpool, Kazimier Stockroom

• 23 March – Glasgow, Hug & Pint

• 24 March – Newcastle, The Cumberland

• 21 April – London, The Lower Third

• 22 April – Cambridge, Portland Arms

Album: Here Lies Human

Release Date: 12 February 2027

Single: Apocalypse Queen (Out Now)

Tickets: On sale from 10am, 15 October 2026 via www.roxannedebastion.com

For further release and event information connect with Roxanne de Bastion online at:

www.roxannedebastion.com 
www.instagram.com/roxannemusic
www.facebook.com/roxannedebastion 

Following the release of her deeply personal new album, Caro reflects on identity, vulnerability, artistic freedom and the journey from global success to genuine self-discovery. In this candid conversation, she discusses stripping away ego, embracing imperfection, challenging expectations around womanhood and finding the courage to say "I don't know".

Your new album has been described as a return to your creative essence. What did you have to strip away, creatively or personally, to get back to that place?

I think I had to strip away my ego. It started there. When I'm making an album, I don't usually begin with a concept. I write songs about whatever is on my mind, and eventually there comes a point where some songs begin to resonate more strongly than others. Then a theme reveals itself.

With this album, the underlying themes turned out to be fear, embarrassment, guilt and this feeling of not wanting to take up space. I've spent a lot of time wondering why I feel that way. I know I'm a good person. I'm not shy. So why do I look at myself through that lens?

Writing songs such as "Already Lost" forced me to say things out loud that I hate admitting. I hate losing. I hate saying I've lost. But there was something incredibly liberating about putting that into a song.

You mentioned stripping away the ego. Was there a specific moment or process that helped you reach that point?

It's still a process, honestly. I've always been seen as somebody who's open and vulnerable. My friends would say I'll talk about anything. But one day I watched an interview I'd done and realised something important.

The person on screen looked confident and completely in control. Yet inside, I felt like I was crumbling. I felt scared. That disconnect made me realise I needed to learn how to fail.

I'm still learning. It's something I write about on the album, particularly in "Mama". That song goes back to feelings I had as a child, feeling like a loser, feeling like people wouldn't like me, feeling like I'd done something wrong. It's probably the most honest song on the record. It's that child asking her mother for reassurance, because your mum represents home and safety.

You've been known around the world as Caro Emerald, but you're now releasing music simply as Caro. What did shedding that name unlock artistically?

Everything.

A name is incredibly powerful. If you imagine moving to a different country, changing your appearance, starting a new life, you'd still carry the identity attached to your name. We're all more attached to those identities than we realise.

Coming from such a successful chapter as Caro Emerald taught me a lot, but it also had me looking in one direction. I needed to look somewhere else. Changing my name felt terrifying. It honestly frightened the life out of me because it felt like I was losing something.

But eventually I realised I wasn't losing anything. I was gaining freedom. It allowed me to stop chasing ideas of success and start experimenting again. That's essential if you want a long career as an artist. It opened up a whole new creative world, and I've surprised myself constantly ever since.

"The Guy Bangs" offers a glimpse into the album's expansive sound. What's the emotional story at the heart of the track?

It's probably the lightest song I've written. I was in Berlin working with a producer after we'd written "Already Lost", which was a very emotional session. We'd gone deep, we'd cried, we'd explored some heavy emotions, and then suddenly we wanted to have some fun.

This lyric just arrived. Maybe it was the energy of Berlin. Maybe it was the atmosphere. But it was inspired by that one person who's just ridiculously attractive and everyone wants them.

It's not entirely autobiographical, but let's just say there have definitely been people in my life who fit the description. It comes from experience.

The album explores womanhood as lived, imagined and mythologised. Which aspects of femininity felt most urgent for you to express?

I think sexuality is the big one. The sexuality of women still seems to make people uncomfortable. People want to control it, regulate it and judge it.

I've personally always felt quite free and open about my sexuality. I'm from Amsterdam, after all. That's part of the culture I grew up with. But even so, I've realised there are still expectations hanging over all of us.

We all carry these ideas of what femininity and masculinity should look like. They're like clouds hanging above our heads. And we're constantly trying to measure ourselves against them.

One thing that really frustrates me is the idea that motherhood and sexuality somehow shouldn't exist together. Why? They're part of the same person. There is no good reason for that separation. That's why I wanted to create space for conversations around it. We're not finished having those discussions yet.

You reference archetypes throughout the album, including the mother, child, mistress and warrior. Which surprised you most during the writing process?

The inner child surprised me most.

I've often been perceived as solid, wise and secure, but the truth is I've always felt like a child in many ways. That child is all over this album. She's asking to be comforted. She's asking for reassurance.

Returning to innocence doesn't mean becoming naïve. It means reconnecting with your truest self. That's what this record became for me.

I was also surprised by how much escapism appeared throughout the songs. Tracks like "The Promised Land" are about wanting to escape adult responsibilities and disappear into a place where everything feels simpler.

If you were given the keys to your own three-day festival with complete creative freedom, what would it look like?

The venue isn't the important thing. It's the atmosphere.

I want diversity everywhere. Different ages, different ethnicities, different backgrounds, different identities. I don't enjoy spaces where everyone is exactly the same. I love environments where young people, older people and everybody in between are sharing the same experience.

The artists would reflect that too. Someone like Lady Gaga comes to mind because she makes people feel welcome. Billie Eilish as well. But I wouldn't want to limit it to specific names. I'd want the festival to be a representation of everyone.

The goal would be to create a place where people feel comfortable being themselves. That's more important than any headline act.

Your sound blends 1980s pop, 1990s ballads, classic R&B, sacred choirs and futuristic synths. What kept such a diverse record cohesive?

There were two key ingredients.

The first was rhythm. Bass and drums had to sit at the heart of everything. It didn't matter whether the drums were programmed or performed live. The groove had to be there.

The second element was drama. I'm always looking for cinematic emotion, something romantic and theatrical that transports people somewhere else.

On previous records that came through orchestral arrangements. This time I wanted something spiritual, so I used classical choirs to tie everything together. Once those two elements were in place, the album started to make sense.

This has been described as your most vulnerable work yet. Was there a point where you realised you'd made something braver than before?

At first, I didn't think so. My previous album felt much more shocking because it represented such a dramatic shift from what people expected of me. But over time I've realised that vulnerability requires a different kind of courage. It's easier to shout your opinions. It's easier to declare what you believe.

What's much harder is saying, "I don't know."

That uncertainty, that softness, that willingness to admit doubt, that's where the real bravery is. And that's what this album taught me.

You're taking these songs out on the road, including a show at Ronnie Scott's in London. How do you imagine them living on stage compared to the studio?

The studio is a playground. You can experiment endlessly. You can record things again and again. My perfectionist side absolutely loves that.

The stage is completely different. You get one chance. It becomes about connection rather than perfection. What excites me most is that for the first time in my career I'll be drawing material from every chapter of my life and bringing it together in one show. It finally makes sense. I've also got an incredible band, including female musicians for the first time, and that's been wonderful. Performing is still my favourite thing in the world. It's what I love most.

Finally, if you were hosting a dinner party for MusoMuso, what would be on the menu and what music would be playing in the background?

I love cooking, but I never make the same thing twice.

To start, I'd probably serve a proper soup. Maybe a seafood bisque made from scratch because I'm very proud of my broths. For the main course, I'd go classic: a beautiful rib-eye steak cooked on the barbecue with rich homemade sauces and perfectly cooked vegetables. Dessert would be something light and French. I don't like very heavy desserts.

As for the music, there wouldn't be a playlist. It would be live. In fact, I'd invite musicians to the dinner and have them perform between courses. Better still, I'd get them to improvise together.

The perfect evening ends with everyone staying far later than they intended, having real conversations, sharing stories from childhood and maybe even shedding a few tears. That's my ideal dinner party.

With her new album ‘Returning to Innocence’, Caro is rediscovering who she was before expectations, labels and success began defining the narrative. The result is a body of work that embraces uncertainty, celebrates authenticity and reminds us that sometimes the bravest thing an artist can do is reveal their truest self.

Follow Caro:

Instagram | Spotify | TikTok | YouTube | caromusicofficial.com 

For many musicians, the dream of making music has to coexist with the realities of everyday life, and Yorkshire indie outfit Mini Disc wear that balancing act as a badge of honour. Describing themselves as a "quarter-life crisis indie rock band", they combine heartfelt songwriting, sharp humour and a healthy dose of workplace satire to create something both relatable and refreshingly honest. Ahead of the release of their new single Whale Song, we caught up with bass player Charles to discuss the band's origins, musical influences, corporate culture, dream festival line-ups and how a discontinued 1990s audio format became one of indie music's most charming new names.

Every band starts somewhere… What were the early days of Mini Disc like, and at what point did you realise this might be more than just a few mates making a racket in a rehearsal room?

Like all great modern love stories, ours started on the internet. Our drummer Aaron and guitarist James met on what can only be described as Tinder for musicians a couple of years ago. Thankfully, they both swiped right on making music together. They started putting a few ideas together and eventually advertised for a singer and bassist. Fran and I turned up, auditioned and passed the interview process. It's been quite a natural progression really. We started out as four people who barely knew each other, just enjoying playing music together, and gradually realised we had something we were all really excited about. There's something quite special about hearing a song go from a rough idea in a rehearsal room to something people are actually singing along to at a gig.We're still very much four mates making a racket in a rehearsal room, just with slightly better equipment and a social media department now.

Your social media describes you as a "quarter-life crisis indie rock band". How much truth is there in that description, and what experiences have helped shape the band's identity and sound?

There's probably an uncomfortable amount of truth in it. We're all at relatively similar stages in life. We've got fairly normal jobs, responsibilities, bills to pay, and calendars full of Teams meetings. Our days are filled with phrases like "just circling back", "kind regards" and "could you summarise this in a quick email?". I think Mini Disc is our collective escape from all that. It's an opportunity to do something creative, make a bit of noise and not take ourselves too seriously. What's the point of being in a band if you're not enjoying it? I think there's something quite relatable about that for people our age. We're part of a generation that's constantly encouraged to pursue their passions, but the reality is that making a living in the creative industries is incredibly difficult unless you're fortunate enough to reach the very top. So we're doing what thousands of other people are doing: working our normal jobs during the day and squeezing in the things we actually love around them. Mini Disc is really for those people. The ones who finish a nine-hour shift and head straight to a rehearsal room, a studio or wherever it is they feel most like themselves.

Let's talk influences. Which artists, albums or scenes have had the biggest impact on Mini Disc, and what can listeners expect to hear in your music because of them?

There's a real mixture of influences across the four of us, which I think is one of our strengths. For me personally, my love affair with guitar-driven music started with the alternative bands of the 90s and 2000s. Bands like Interpol, Smashing Pumpkins and Placebo really shaped what I love about music. There's something about that era of alternative rock that really resonates with me. Big, atmospheric guitars, interesting basslines and music that isn't afraid to be a little melancholic. James, our guitarist, is a massive Radiohead fan, and I think you can definitely hear that in some of his more creative playing. He's particularly good at making noises with a guitar that don't necessarily sound like they should be coming out of a guitar, which is always entertaining in rehearsals. That said, we're not all brooding alternative rock purists. We also have a collective soft spot for some truly magnificent 2000s pop music. Enrique Iglesias and Ne-Yo deserve a special mention. Ultimately, we like music that makes you feel something.

The name Mini Disc immediately takes me back to the 1990s and Sony's famously ambitious audio format. How did the name come about, and have you ever had to explain that you're a band rather than a portable music player?

There's no particularly profound story behind it, unfortunately. We sometimes describe ourselves as nostalgia-driven indie rock, so I think our collective love of all things retro probably played a part. It's also just a cool name, isn't it? There's something quite charming about the MiniDisc as a format. It feels like a relic of a time when technology was a bit more exciting and slightly less concerned with harvesting your personal data.As part of our currently very modest live production, we've also got a light-up disco ball which I've affectionately named "Mini Disco". It's arguably our most expensive employee and certainly the least troublesome.We're hoping to gradually expand the production budget, although Mini Disco has already requested a pay rise.

Be honest, has anyone from Sony's legal department been in touch yet, or are you still flying safely under the copyright radar?

Not yet, thankfully. I did consult a friend who's a lawyer, and his professional assessment was essentially that a small indie band from Yorkshire probably isn't going to be mistaken for a discontinued portable music player. That was reassuring, although I'm not sure it constitutes a watertight legal defence. We're hoping Sony might see the commercial potential and offer us some sort of collaboration before sending anyone round to kick the door in. If anyone from Sony is reading this, we'd like to make it clear that we're very open to discussions. Our management team is available during normal business hours, excluding rehearsals and our actual jobs.

Your new single 'Whale Song' arrives on 30 October, almost perfectly timed for Halloween. What's the story behind the track, and do you have any suitably spooky plans to celebrate its release?

The music for Whale Song originally came from James, who brought the initial idea into a rehearsal. It was one of those lovely moments where everyone seemed to immediately understand what the song needed, and it all started falling into place quite naturally. We knew quite early on that the real strength of the track was in its emotion. Fran has an incredible ability to bring that out through her vocals, and we wanted to make sure the recording really did that justice. That's partly why it's taken us a little longer to get it out into the world. We were quite protective of this one and wanted to get it right. We're playing The Lending Room in Leeds on 29 October, the night before the release, so we're treating that as our unofficial launch party. It's going to be a really special night for us, and we can't wait to share the song with everyone. We haven't planned anything particularly spooky, although four people in their late twenties trying to balance full-time employment, a band and a social life is arguably frightening enough.

Why 'Whale Song'? Can it be used as a birthing aid to expectant mothers?

Like a submerged whale, this one's a bit deep! Whale Song is ultimately about finding someone you want to spend your life with, but it also explores the fear of what life might look like without them. A lot of us in the band have reached that stage in our lives where we've found the people we want to spend the rest of our lives with. We drew on those personal experiences, the excitement of meeting someone for the first time, the emotional connection that grows over time, and that feeling of realising just how important another person has become to you. That said, we're a fairly melancholic bunch, and apparently we're incapable of writing a straightforwardly happy love song. There's always got to be a little existential dread thrown in for good measure.We've felt quite strongly about this track ever since it first came together, and Fran's vocal performance captures that mixture of love, vulnerability and sadness beautifully. We really hope people can connect with that when they hear it. As for its potential use during childbirth, we're yet to conduct any clinical trials. However, we're always looking to diversify our revenue streams, so we'll certainly pass the suggestion on to the business development team.

Pre-Save WHALE SONG

Your social posts have a wonderfully awkward corporate energy that occasionally reminds me of David Brent, mixed with every well-meaning manager I've ever worked for. Is that deliberate, and who's responsible for the band's unique approach to workplace-inspired nonsense?

First of all, being compared to David Brent is probably the highest praise we've ever received. We're big believers in his management philosophy, particularly the importance of having a laugh while achieving absolutely nothing of measurable commercial value. It's definitely deliberate. I think we've created this slightly ridiculous corporate universe around Mini Disc because it's something we can all relate to. We spend so much of our lives in meetings, replying to emails and pretending to understand what "leveraging synergies" means that it seemed only natural to bring that same energy into the band. There's something inherently funny about treating four people playing indie rock in small venues like a multinational corporation. Our listeners are shareholders, our gigs are quarterly performance reviews, and every new single is a major strategic milestone.

I think a lot of people our age understand that strange disconnect between the very serious professional personas we're expected to maintain during the day and the people we actually are outside of work. It's also a nice way of not taking ourselves too seriously. We absolutely love making music, and we're incredibly proud of what we're doing, but I don't think that means we need to stand around looking miserable in black and white photographs all the time. As for who's responsible, I suppose I probably have to take a fair amount of the blame. Although, in true corporate fashion, any particularly unsuccessful ideas will be attributed to the wider team.

Festival season is all about dream line-ups. If Mini Disc could curate its own one-day festival with any artists from any era, who would be on the bill and where would you place yourselves?

This is a difficult one because I think we'd end up creating the most musically confused festival in history. I'd absolutely love to have seen Elvis in his prime. Partly because he's one of the greatest performers of all time, but also because one of my mates got married in Las Vegas by an Elvis impersonator, and I've been fascinated by the man's ability to remain gainfully employed decades after his death ever since. I'd also have LCD Soundsystem on the bill, because I can't think of many better ways to finish a festival than having thousands of people dancing to All My Friends.Then, just to keep everyone on their toes, I'd put Slayer on in the afternoon. Nothing quite prepares you for an evening of indie disco like forty-five minutes of aggressive thrash metal.The Village People would obviously need a slot too. I think the sight of a Slayer crowd transitioning straight into the YMCA would be worth the ticket price alone. So let's go with Elvis, Slayer, The Village People, LCD Soundsystem and, of course, Mini Disc. We'd headline the smallest tent on site, naturally. Ideally at about 3pm, so we can get changed and enjoy the rest of the festival.

Finally, you're hosting the ultimate Mini Disc dinner party. What's on the menu, which three guests (living or dead) are getting an invite, and what's playing quietly in the background while everyone argues over dessert?

We're big fans of Mexican food, and we've actually got a song dedicated to our seemingly unquenchable thirst for margaritas, so I think the menu pretty much writes itself. Tacos, nachos, quesadillas and a frankly irresponsible quantity of tequila.I'd also insist on having a few bowls of Scampi Fries dotted around the table. Not particularly Mexican, but an essential part of any sophisticated dining experience. 

As for guests, Elvis is already on my mind, so he's getting an invite. I reckon he'd be good company after a couple of margaritas, although we'd probably need to reinforce the dining chairs.Next up would be Marcelo Bielsa.

As a Leeds and, I don't think I could pass up the opportunity to have dinner with the man. He'd probably spend most of the evening analysing the positioning of the cutlery and explaining why our kitchen isn't pressing aggressively enough. And finally, Marcelo Bielsa's interpreter. Partly because I'd quite like to understand what Marcelo was saying, but mainly because I think it would be hilarious to invite one of the greatest footballing minds of our generation to dinner and then make him share his plus-one allocation with his own translator.

For the soundtrack, it's got to be the Cantina Band music from Star Wars. Just quietly looping in the background for the entire evening, gradually driving everyone insane.A perfectly normal Tuesday evening.

In an era where many bands feel pressured to project an image of effortless cool, Mini Disc's greatest strength may be their willingness to laugh at themselves while still taking their music seriously. Behind the jokes, margaritas, management meetings and "quarterly performance reviews" is a group of friends creating music because they genuinely love doing it. As Whale Song arrives and the band's journey continues to gather momentum, Mini Disc look set to resonate with anyone who's ever spent their day at work while dreaming about being somewhere else entirely.

Please ensure your timesheets, goals for the next quarter and plans for next week are filed via INSTAGRAM

Fresh from the release of his acclaimed second album if i don't love you, who will ?, South London's genre-defying force Master Peace has announced a major UK and European headline tour for 2027. The run will see one of the UK's most exciting young artists take his vibrant, emotionally charged new record directly to audiences across the continent, building on a remarkable period of momentum that has firmly established him as a rising star of modern alternative music.

Listen to if I don’t love you, who will?

Beginning in Lisbon on 8 February and culminating in Brighton on 4 March, the tour will travel through Spain, Switzerland, Italy, Germany, the Netherlands, France, Ireland and the UK. For fans who have followed Master Peace's rapid ascent over the past few years, these shows offer the first opportunity to experience the full scope of if i don't love you, who will ? in a live setting.

Released earlier this month via Big Family Music, the album finds Master Peace at his most open and self-reflective yet. Across ten tracks, he explores the complexities of modern relationships, navigating love, insecurity, confidence and heartbreak with the same wit, charisma and restless creativity that have become his trademark. Blending indie, pop, R&B, dance and alternative influences into something uniquely his own, the record continues to demonstrate why he remains one of the most compelling voices emerging from the UK scene.

The announcement follows a standout year on the road. Master Peace has spent much of 2026 performing across the globe, touring with artists including Good Neighbours and 5 Seconds of Summer, while also appearing at Music Venue Trust and The National Lottery's EVERYWHERE AT ONCE festival. More recently, he celebrated the release of his sophomore album with an extensive run of UK in-store performances, further strengthening the close relationship he has built with his growing fanbase.

Critical acclaim has continued to gather around both the artist and the new album. Publications including Rolling Stone UK, Clash, Wonderland, Dork and Fault have all championed the record, while support from BBC Radio 1, BBC 6 Music and Apple Music 1 has helped introduce his music to an ever-widening audience. Streaming platforms have also embraced the release, with prominent placement across key playlists including Our Generation, The New Alt and New Music Friday.

Master Peace's story remains one of the most fascinating in contemporary British music. Drawing inspiration from indie guitar bands, grime pioneers, pop innovators and dance music culture, he has successfully created a sound that refuses to be confined by genre boundaries. It's a musical identity shaped equally by personal experience and artistic ambition, one that continues to resonate with listeners seeking something authentic, energetic and unapologetically individual.

With a growing catalogue of acclaimed releases, an increasingly formidable live reputation, and a second album that's already generating significant buzz, the 2027 headline tour feels like another significant step forward for an artist operating at the peak of his creative powers. Whether you've been following his journey from the beginning or are only just discovering his music, these forthcoming dates promise an opportunity to witness one of British alternative music's most exciting talents in full flight.

Keep up to date with Master Peace on Instagram | X | YouTube | Spotify

Some bands arrive with a carefully constructed image. Others evolve organically through years of shared experiences, changing line-ups and a determination to let the music lead the way. Brisbane outfit Scandal Tree firmly belong in the latter camp. Fronted by a collective of musicians whose influences and backgrounds are embraced rather than constrained, the band have built a reputation for crafting songs that are as unpredictable as they are distinctive. Their latest album, Never Look a Gift Foot in the Mouth, takes listeners on a darkly entertaining journey through betrayal, obsession, deception and redemption, all wrapped in what drummer and founder Dano affectionately describes as "Tarantino garage rock".

Who is answering the questions?

Hi there I'm Dano aka Rip the founder, manager, promoter and drummer for Scandal Tree

How did you get to the band name, and what does it mean to you?

The band name is actually from a song I (Dano) created and sang many years ago when I was in my 20s. We had revived the song and had been playing it and then we eventually recorded it. We agonized over a band name until one day someone goes. Scandal Tree, is a cool name. They asked - Dano what the hell is a Scandal Tree? I explained the meaning behind the personification and they all said and agreed it was a great kname for a band. No one's going to come up with a name as twisted as the thought behind it. So the band name Scandal Tree was assumed!

When did you realise that you wanted to do music full time?

That's always been the dream since the countdown, MTV and RAGE eras. Watching our favourite music clips and bands doing what they love on the big screen and stages has always inspired, but we also realise that we all have to make a living, work hard and hope that someone will notice our music. Nothing happens overnight and it's a lot of passion and hardwork. 

How did the idea for your latest release come about?

That's a Huck our vocalist question as he usually has the ideas and cooky themes behind the songs. We just compose the music and he rides a vibe that comes to life as a story with in the music. However our album Never Look a Gift Foot in the Mouth is an assortment of little twisted stories about life. There's elements of betrayal, lust, upheaval, anger, cannibalism, loneliness, passion, determination, death, deception, love addiction and many other concepts.

Can you tell us about the themes and influences that run through out?

It's like a choose your own adventure novel set to music. It snakes from one twist plot to the next entwining the senses and dragging one into a disturbing world. Despite it all one discovers that truth can be stranger than fiction no matter how the tale is told. The album is influenced by Quentin Tarantino and is set to music - Tarantino Garage Rock….

Who produced the release, and what were they like to work with (If you produced it yourself, then what do you love the most about working that way?

Nik Carpenter from Core Studios recorded, mixed and produced our latest album Never Look a Gift Foot in the Mouth. We've been using Nik for some time now as he's professional in his approach, very knowledgeable and liaises with the bands in a relaxed atmosphere to understand the musical direction in order to achieve the best results. We couldn't recommend him highly enough. 

How would you say that the sound of the band has grown/changed over the last couple of years?

Our sound has evolved over time with an interchange of musicians. However the main goal has always been to embrace each individual musicians musical background and experiences rather than making one conform to a set genre. That's what makes our music unique. We allow the song to dictate the flow as everyone in the group adds their magical touch to the writing process and the songs grow from there.

What do you want your latest release to do for the representation of the band?

I think mainly to highlight how versatile and different we can be. That each song has a story and a unique twist both musically and themed.

What else can we expect to see from the band in 2026/7?

We're winding up with a final shows for 2026 as our sights start to focus firmly on 2027. We're currently in the studio writing new material to hopefully record and release mid way through 2027. The idea for 2027 is to try and branch out of Brisbane and go regional and interstate Of course we'll be continuing with all our online banter and shares so to keep up to date on all things Tree related just follow us and interact!

With new material already taking shape in the studio and ambitions to expand beyond their Brisbane roots in 2027, Scandal Tree show no signs of slowing down. What shines through this conversation is a band committed to storytelling, individuality and allowing each song to find its own path. Whether they're exploring life's stranger corners or building immersive musical worlds filled with unexpected twists, Scandal Tree continue to prove that their greatest strength lies in never settling for the obvious. If Never Look a Gift Foot in the Mouth is any indication, the next chapter promises to be every bit as intriguing as the last.

Keep up to date with their musical happenings via LINKTREE

Fresh from sharing soundtrack space with some of the biggest names in contemporary music, Micko & The Mellotronics return with a new anthem that wears its heart firmly on its sleeve. Viva La Underdog, released on 16 October, is a vibrant slice of power-pop that manages to be uplifting, reflective and quietly profound all at once.

At first listen, the track bursts with the kind of infectious energy that recalls the sharp melodic instincts of Buzzcocks and Squeeze, filtered through the distinctly British wit and character of bands such as Pulp and Blur. Beneath the bright hooks and punchy delivery, however, lies a deeply personal story that gives the song its emotional weight.

The inspiration for Viva La Underdog emerged during a series of visits by frontman Micko Westmoreland to a care home where his mother, who lives with Alzheimer's disease, resides. As mother and son spent time together, old episodes of Top Of The Pops played continually in the background, creating a soundtrack of memories and reflections. Those moments prompted Micko to consider the fragility of memory, the passage of time and the universal experience of feeling like an outsider looking in.

Rather than dwell in melancholy, however, the song chooses optimism. Viva La Underdog becomes a celebration of resilience, creativity and perseverance. It's a reminder that life is not necessarily about coming first but about remaining engaged, curious and connected to the things that inspire us. The result is a track that feels both intensely personal and widely relatable, offering listeners a life-affirming rallying cry wrapped in irresistible melodies.

The song also pays tribute to the late Neil Innes, the beloved Bonzo Dog Doo-Dah Band and Rutles legend whom Micko describes as both a friend and songwriting mentor. Elements of Innes' playful spirit and eccentric charm run throughout the single, adding warmth and humour to a track grounded in genuine emotional reflection. That influence extends to the accompanying video, created alongside long-term collaborator Ashley Jones, which embraces a delightfully surreal sense of fun through the adventures of iconic puppet characters Sooty and Sweep.

Viva La Underdog arrives as the fourth video single from the band's acclaimed third album, The Trinity. Widely praised across the independent music press, the album represents one of Micko & The Mellotronics' most personal and accomplished works to date. Written and recorded during a particularly challenging period in Micko's life, the record explores themes of memory, loss, resilience and humanity without ever losing sight of the band's trademark wit and melodic flair.

The group have continued to build momentum throughout 2026. Their inclusion on the Heartstopper Forever soundtrack introduced their music to a much broader audience, placing them alongside artists such as Taylor Swift, Billie Eilish and The National. Meanwhile, tracks from The Trinity have continued to attract critical praise and radio support, further cementing the band's reputation as one of Britain's most distinctive independent outfits.

With Viva La Underdog, Micko & The Mellotronics have delivered a song that champions those who rarely find themselves centre stage. It's funny, heartfelt, intelligent and instantly memorable, proving that some of the most meaningful victories come not from standing above the crowd, but from finding connection within it.

Whether you're rooting for the outsider, reflecting on memories of your own, or simply searching for your next great power-pop obsession, Viva La Underdog is a reminder that there's real strength in embracing life's underdog spirit.

For more information:

Facebook | Spotify | Website | Bandcamp

As Pop Will Eat Itself prepare to return to SHIIINE ON, Adam Mole reflects on four decades of reinvention, creative risk and refusal to follow convention. From the grebo explosion and sampling culture to PWEI.40 and beyond, this candid conversation celebrates a band that has always thrived on unpredictability.

SHIIINE ON celebrates some of the most influential bands of the 90s. When you look around the festival bill, what memories come flooding back from that era?

Well I guess pretty much a Reading or Phoenix festival line up, hanging out in the backstage bar and getting pretty wrecked… so yes pretty much a Shiiine weekend.

PWEI always felt like outsiders, even when you were becoming incredibly successful. Did you ever feel part of a particular scene, or were you deliberately trying to exist outside of one?

We really just embraced the new technology and felt an urge to change and be a little ahead of the game.

Working with Robert Gordon, the house producer at Fon in Sheffield, and then Flood, who produced our second and third albums, helped us have that extra edge, one that encouraged experimentation and pushing boundaries.

This would drive RCA, our record company, mad as we weren’t delivering that bona fide hit to make us a household name like, for example, EMF, The Wonder Stuff, Jesus Jones and Carter USM.

If songs were getting a bit ‘catchy’ or radio friendly we’d change the chorus or drop it altogether. The final album mixes were often quite different to the pre-production demos that got the top brass at RCA quite excitable.

So much of your music was built around sampling, media culture and information overload. Looking at today's social media-driven world, do you ever feel like PWEI saw the future coming before the rest of us?

Of course we did, always!

Songs like Can U Dig It?, Wise Up! Sucker and Get The Girl! Kill The Baddies! still sound uniquely PWEI. What do you think gives those tracks their lasting appeal decades later?

I think we were pretty unique in a way, so tricky to plagiarise. I can’t really ever imagine a PWEI tribute band.

I think this affords us a certain cult status, ensuring many of our songs continue to mean a hell of a lot to a treasured hardcore of fans.

The Midlands produced an incredible number of alternative bands during that period. What was it about places like Stourbridge and the wider Black Country that seemed to inspire so much creativity?

I think the wider area was pretty much a rock paradise having spawned Black Sabbath, Slade and half of Led Zeppelin.

Stourbridge had a very vibrant art college and I just think the pubs and nightlife reflected all those things.

Once we started to get a few out-of-town gigs we would ask our friends The Wonder Stuff to play with us, and a year later Ned’s Atomic Dustbin would support both bands too.

Helping each other out really helped forge a little scene and the pubs at the weekend would heave with people who started to drink in Stourbridge, and it just snowballed I guess.

PWEI evolved constantly throughout your career, moving from grebo and indie roots into industrial rock, dance music and electronics. Was reinvention a conscious decision or simply the result of following your curiosity?

Grebo was a term we coined in a way but was a local insult for a greasy old biker.

We soon realised after we all witnessed the Beastie Boys in Birmingham on their first album tour that we were actually shit!

It was a lightbulb moment and the idea of writing another song in the same way was suddenly totally alien to us… literally overnight.

Graham said he ain’t playing drums again and was gonna run around and sing, and that’s exactly how it happened.

We had a tour already on sale in a few weeks and we came on stage having basically dumped the set that people were expecting and played stuff in our new style.

They were, to say the least, interesting shows and not totally understood, but that’s what we always wanna do, even now!

Your music has always balanced humour, satire and social commentary. Do you think modern alternative music takes itself too seriously, or are there still artists carrying that spirit forward?

I think a lot of bands can have tortured souls in them and yes, maybe too serious, but this business has a lot of fake people in it too, guided by the hope of making it big. Many people aren’t what they seem. After all, it’s show business, often driven by good old fashioned hard cash!

Festivals can often become exercises in nostalgia. PWEI have continued making new music and pushing forward creatively. How important is it for you to be seen as a current band rather than simply a heritage act?

Yes, we have recently done new stuff and sometimes it would be easier to just play the same set every gig. It does indeed seem a very, very good idea at times.

This PWEI.40 project, although harking back to some older songs, is a way me and Graham can look at re-designing ourselves, keeping things fresh and exciting and, yes, of course anxious and bloody hard work, but it’s what we’ve always done: push the boundaries.

You've influenced countless bands who blend guitars, electronics and sampling. Are there any contemporary artists who make you think, "I wish we'd thought of that"?

Absolutely tons. Beastie Boys, Public Enemy, Orbital, Massive Attack, Prodigy, Gans… anybody any good basically, ha!

Clint Mansell's later success as a film composer has become an extraordinary chapter in the wider PWEI story. Looking back, could you see those ambitions and talents emerging during the band's early years?

In fairness Graham was always the guiding light of the band early on and the one who wrote the early stuff, directed the change of styles and provided the edge.

Clint later generally came up with the singles and more catchy tunes that RCA would lean towards.

Clint very much was into the glossy comics, films and futuristic dystopian life.

Rich was a genius with the technology and I learnt to drive first and had access to borrow my dad’s car so we could get to practice. That was my paltry effort in bringing things to the communal table.

So in answer, yes, I think Clint was very driven and perhaps nurturing a real desire to be a one-man band, go alone and just see what this world had to offer. He’s done amazingly well and I think we’re all tremendously happy and proud of what he’s achieved.

If you could go back and give the original version of PWEI one piece of advice before stepping on stage, what would it be?

I’m not the one to give advice really. A large part of me wishes I hadn’t just winged it so much and I’d actually tried to play guitar properly, as I never ever really practised… and it shows.

Having said that, maybe I’d have gravitated to loads of boring old man solos over everything and disappeared up my own arse, so every cloud and all that!

Many fans attending SHIIINE ON discovered PWEI in the 80s and 90s, while others are finding the band for the first time. What should a first-time PWEI audience member expect from your set?

They should definitely not expect anything, otherwise they’re in the wrong room!

Are there any songs in the catalogue that have taken on a completely different meaning in today's world compared with when they were originally written?

Well, Ich Bin Ein Auslander has certainly not. It’s more current today sadly.

Finally, after nearly four decades of challenging expectations, what is it that still excites you about being in Pop Will Eat Itself?

I’m looking forward, albeit with a degree of anxious worry, but that’s me.

PWEI.40 is obviously a risk but we’re confident in our vision.

We will most definitely see, but we’re hoping 2026 finishes on a high.

The band's name famously suggests pop culture endlessly consuming itself. In 2026, with streaming algorithms, viral trends and AI-generated content everywhere, has pop finally eaten itself, or is there still plenty left on the menu?

Our last album under the guise of Pop Will Eat Itself was called Delete Everything and that’s sort of the way we feel about things… starting again and taking chances.

If people end up chucking stuff at us, please bring soft goods.

Few bands have challenged expectations quite like Pop Will Eat Itself. Honest, humorous and fiercely independent, Adam Mole's reflections reveal the same restless spirit that drove the band from the very beginning. As PWEI head to SHIIINE ON, one thing remains certain: expect the unexpected, and enjoy the ride.

Keep up to date with PWEI’s sonic happenings via INSTAGRAM

Ahead of their return to SHIIINE ON Festival in Minehead this November, The Soup Dragons frontman Sean Dickson reflects on a journey that has taken him from Bellshill rehearsal rooms and John Peel sessions to festival stages packed with multiple generations of fans. Warm, passionate and refreshingly candid, Sean looks back on lifelong friendships, creative breakthroughs, the misconceptions that still surround Lovegod, and the enduring spirit of freedom that continues to define The Soup Dragons more than four decades after they first emerged.

SHIIINE ON festival brings together artists who helped define alternative music in the late 80s and 90s. What do you enjoy most about being part of that community today?

Bringing people together as one to celebrate memories and music old and new is a beautiful thing.

At festivals sometimes people who may not think they like a band and then suddenly discover a new found love they never thought they actually had.

Leave your inhibitions at the door.

Bellshill produced some remarkable bands. What was it about that scene that seemed to inspire so much creativity?

Simple answer …. friendship.

A friendship that still exists all these years and always will.

When you started The Soup Dragons in 1985, did you have any sense that those local gigs would lead to a career that's still being celebrated decades later?

Of course not.

To think John Peels office calls my family home when I just turned 17 and asked us to do a session based on a flexi disc we released on a fanzine that Sushil our bass player made is still insane to me.

Also the fact I said down the phone we do not have any money to get to London and the person from the BBC on the other end of the phone said John will meet you next week at Glasgow at QMU where he is Djing.

And it was there he handed £150 in cash and said will this help get you to London.

Many years after in Johns company when we became friends I tried many times to give him back that £150. He would never take it.

Once in his car I stuffed it down side of the passenger seat and he saw me and was like Oi !

I have said this story many times before but if you have not heard it you have to.

At his breakfast table at his home one day I asked him ….how do you keep the enthusiasm to keep discovering new music.

He stopped and looked me right in the eyes and said ’The next record I hear may be the best record I have ever heard’.

SUDDENLY it all made sense to me.

Boom ! A life changing moment.

The crossover between guitars, dance music and club culture feels commonplace now. How radical did that fusion feel when you were making Lovegod?

'Lovegod’ still to this day gets compared by uneducated journos to ’Screamadelica’ even though it came out 14 months before ? Work that one out ? Time travelling ?

Two very different albums conceptually anyway.

This fact drives me insane though as the whole concept of Lovegod being derived by factually wrong historical dates make me seem like some kind of fake copying chancer as a writer and producer , where as I was writing music with production ideas that I thought were ahead of the indie guitar band curve at that time.

But I was never given any artistic credit for that.

Also all the visuals and art we worked with Dr. Benoit Mandelbrot the man who invented fractals to show a more modern technological psychedelia to our already punk rock / psychedelic presence.

Once again ahead of the curve as fractals then become the total acid house cliche many years after.

Which of course they would go on to say ‘we copied’ that too.

‘Mother Universe’ was also in clubland before many other bands even thought of that avenue. We were going to acid house parties in Glasgow in ’88.

We even played live at a well known acid party called UFO around that time promoting ‘Mother Universe’ when just a promo 12”.

Most other indie bands were still rolling about in their leathers.

When I was 15 I made an electronic album in my bedroom ’Silent Industry’ that came out last year on on a Greek label on vinyl. It’s on streaming platforms if you want to hear it.

This shows clearly that I have always messed around with electronics and in 88/89 took that avenue back into my songwriting and as a band we created something fresh and unique and part of that great time capsule of 89/90.

To have to stand up and fight for your own art because of journalists getting their facts wrong really fustrates me.

Plus I never ever said ’there’s always been a dance element to our music’.

Why would I even say that ?

All that stuff at the time just demeaned my intelligence.

These days on social media you could call this stuff out for the nonsense that it is.

Back then you had to swallow it and move on.

"I'm Free" remains one of the defining tracks of its era. What memories come to mind when you hear it now, and are you ever surprised by the reaction it still receives?

“Don’t Be Afraid Of Your Freedom” likely means more now than it ever has.

I am not surprised at the reaction as it is kinda timeless.

I think I have heard it in every situation where you would or could hear music. Lifts , planes , shopping malls etc you name it.

Isn’t it lucky though that night at 4am when I got home after some club rave I had been at and turned the tv on to chill out and ‘The Stones At Hyde Park' came on BBC2 and that song was played and I thought there and then that this needs to be updated for what was going on in the UK at that point.

First time I had ever heard it and it came on literally as I switched the TV on.

That is a crazy fact as from that point it changed every thing.

The arrangement I made of it is so different cause I just made it up based on memory as even to this day I have never owned an actual copy of the Stones version.

Why the lyrics are so different in places and musically nothing like it.

Soon as I heard it that morning it felt like it was a connection to the 60’s love and peace stance and what was happening in 1989 at that moment. It felt like it bridged it all.

Also it felt like a reaction against Thatcher trying to shut down the rave scene and basically a two fingers to the establishment stopping us all having fun and loving each other for once.

All those different tribes coming together. It was special times. I'm Free documented that.

Don’t be afraid of your freedom indeed.

Many SHIIINE ON artists have seen renewed appreciation from younger listeners. Have you noticed a new generation connecting with The Soup Dragons?

Very much so , just like when I went to see The Ramones back in the day it felt like I was the youngest person there.

Last time we played London there was a mosh pit of 16 year olds and grown men all jumping about together.

It was a beautiful site to behold.

How does it feel walking onto a festival stage and seeing fans who have been with you since the beginning standing alongside people discovering the band for the first time?

It feels joyous we have always had a family aspect to our band and our fans.

When you revisit the band's catalogue, are there any overlooked tracks you'd encourage fans coming to SHIIINE ON to rediscover before the festival?

'I Know Everything’.

It’s a very early C-86 type track.

Pardon my French but I f**king love that song both musically and lyrically.

We played it twice last time we played Shiiine On …..it got to the end of the track and I thought hell let's do it again !

Literally the urge came right there at that moment.

And we did and it was the most joyous feeling ever.

The crowd went with it and loved it more the second time round.

Might play it 3 times this year ! Who knows !

I mean it is actually only 2 mins long.

Festivals are often about shared memories. Do you have a favourite festival story from your career that still makes you smile?

YES ! When we played Glastonbury late 80’s when it was really rustic and chaotic in those days.

We could not find our drummer Ross after the gig , remember there were no mobiles back then.

So we had to leave the festival site without him and hope he would show up at our next gig in Bristol 2 days later.

Which of course he did.

Mobiles killed all that fun !

What can fans expect from a Soup Dragons performance at SHIIINE ON this November?

A psychedelic punk rock soundtrack to wake up your senses and to live in the moment of it all.

The best Sunday afternoon worship you can attend. Bring your hallelujah.

As this conversation makes clear, Sean Dickson remains every bit as passionate, outspoken and creatively driven as he was when The Soup Dragons first burst onto the scene. Whether celebrating the friendships forged in Bellshill, championing overlooked tracks from the band's catalogue or recalling the cultural energy that inspired songs like "I'm Free", his enthusiasm is infectious. When The Soup Dragons take to the SHIIINE ON stage this November, fans can expect far more than a nostalgic trip down memory lane. They can expect a vibrant reminder of why this music continues to resonate across generations, bringing people together through a shared love of freedom, community and unforgettable songs.

Keep up to date with their sonic shenanigans via INSTAGRAM