Here you go, a little single thing. It's two tracks - Start Again (Go Real Slow) - £10 store credit if you know where I paraphrased that title from, and Sleep With The Light On - £10 store credit if you know where those hi-hats are from.
There's also a remix by LDLDN, of NTS fame, on there! He's great, and so glad he agreed to mangle some of my stems into something a bit more dancefloor orientated.
Currently working away on some new stuff, just in case you wondered where all the albums were this year. I know, I know - we're 6 months into the year and I've only done *checks notes* 1 album. Very poor showing from me, but don't worry - I've plenty of stuff in the pipeline I'm working on!
I do have a gig coming up though, if that counts? August 9th at the Loading Bay in Bradford, supporting Richard Dawson. Should be great, although it's sold out now, so tough cookies if you fancied coming and don't have a ticket yet.
Oh, and one more thing - the Brad Flag bags are back in stock! If you missed out last time and want to show Bradford off to the people of the world, you can do so now:
Anyway, stay tuned for more fun from satan very soon.
I remember hearing on some football thing ages ago that no matter what team you support, football is all about moments - nothing will probably last forever, things can always get worse, so just remember those good times, celebrate them accordingly, but always remember that it's just a moment in time that's brought you some joy.
I've had this stuck in my head for months now (primarily due to supporting Aston Villa, and having them toy with my blood pressure all season), but I thought it's such a good jumping off point for being a musician, whether for a hobby or for your job, in 2025.
Ollie Watkins: fan of the satan. Maybe. Probably.
Satan's always been a very driven outfit, quite literally. Back in the early days, we'd jump in the car and play anywhere we could, we'd try our luck with promoters, writers, booking agents, labels, managers, blogs, magazines, you name it - if it was a position in the music industry, we probably had a conversation with someone about it. You can do all that stuff when you're young, because you're bulletproof when you're 20 aren't you? Nothing sticks, you can just reset and start again if it all goes to shit. And there's nothing wrong with relentlessly trying to push a band on in whatever way you can - a good work ethic and ambition is mightily important, but I also keep thinking what did all that really do for me, what did it do for the band?
It gave me some amazing experiences, sure - it gave me some brilliant moments I'll keep in my head forever, but in terms of what we wanted to achieve with it - cold, hard industry success, well... the jury's out. These days, I like to think the opposite of what I used to, and I think going slow and taking your time is probably the best way to go about things. Oh, sure, if you're in your 20s reading this, you'll already have that 'old man yells at cloud' meme in your head, but I think it's worth swishing around your brain for a bit.
In the broader scheme of things, being 'successful' means different things to different people. If you judge it on industry success though, then there's a good chance you'll fail. But then, aside from like 1% of any given scene that gets even close to big industry success, we'll all fail. That though, doesn't mean your art is any less special, or your endeavours any less worthwhile. If you put 1 gig on in a local venue, you've already done something that very few even attempt, let alone pull off. If you put just one thing on Bandcamp, again, you've done something there that most people will never, ever do, so I think it's always worth remembering these moments, and not getting too tied up with 'the biz'. If it's meant to be, that stuff will come eventually.
I see young bands shilling for streaming platforms, trying to get people to come save their song for reasons that are unclear. What are you getting out of that, champ? You can't get your hands on any of that data, there's no real money involved in it and if it went offline tomorrow, you'd be back to square one immediately. There's no clout in it, there's no 'exposure' in it, it's just a way of getting artists to do the tech company's dirty work. It's 2025 my guy, chill.
Just take a breath, sit back and figure out who you are, what it is you want, and why you want it.
There's nothing wrong with just taking it easy - book a few gigs locally, see if you like it, see if you meet some new people - shake a few hands, listen to some new bands, interact with some likeminded people, get some ideas. It's magic! You don't have to tour right away - it took satan 2 years to even get to London, so don't worry about that 20 date mega tour right away. Make some friends, play some music, that's all it's ever been about. Listening back to a record you've made with your pals is one of the most invigorating experiences any human being will ever have, honestly - it's fucking beautiful. So don't feel pressured to boil that down to just pointless 'content' for some stupid fucking website. Your music will outlast all these stupid fucking websites - never forget that.
You don't need branding right away, you don't need PR or a label or a booker, etc. All that shit comes in time if it's meant to be, so for now, just enjoy it - enjoy the moments you get given and stop worrying about fucking Instagram or your arbitrary numbers next to your name on spotify. None of that shit really matters when it comes down to it, but you'll always remember that one Saturday when you played a good gig and you met someone cool.
God I'm getting worse at updating this blog aren't I?
Anyway, on Friday I stuck out the 18th worriedaboutsatan album, The Future Can Wait.
I've been doing this band for a huge chunk of my adult life now, and with the 20th anniversary of starting it coming up, it got me thinking about all the usual existential stuff: time, where it's gone, where does it go, holy shit I'm an adult now but when does being an adult start? why am I still thinking 2002 was like 'a few years ago', etc.
That was the background hum to making this record, which I did in my tiny box room studio up here in Saltaire. I wanted to make three really long tracks and see if I could do a Tangerine Dream: piece it all together without it sounding too jarring or horrible. Hopefully I came close to cracking it, but that's for you to decide I guess.
Anyway, it's out now on digital, CD and streaming (apart from Spotify, because fuck Spotify). Have a gander at it here:
