Three EPs out today

Out today, not specifically to coincide with Bandcamp Friday, but it's a nice coincidence, is this collection of 3 EPs I did under my own name back in 2013.

 

To help release the first Ghosting Season stuff way back when, we'd kicked off our own little mini-label called This Is It Forever (named after the Hood song of the same name) and then as time went by, we decided to broaden the scope of it and start releasing other bits and bobs and make it a little cottage industry.

It lasted like that for quite a while, and it was really nice to be a part of something, a little mini underground DIY scene full of weird and wonderful packaging, helping friends release things, getting our own experiments out there, cultivating a fanbase, etc. it was nice!

Anyway, these three were part of that. It'd been the first time I put music together by myself for a long time, and it felt really good to get some ideas out there that probably weren't going to be used for Season/ satan stuff and have no pressure on what they were.

Me playing live solo in London, 2014

Me playing live solo in Manchester, 2014-ish

Looking back from 2026, it's mad how I let these things loose without much thought haha! The mixing on some of these tracks was *diabolical* so I went back in and fixed them with the knowledge I've gathered over the past 13 years (although some would that's not much lol) and freshly re-mastered them too, as again, some of them sounded pretty ropey by today's standards.

Musically, they're all a little scrappy, a little rough around the edges and not totally fully formed yet, but then again, that's what they were supposed to be - just little ideas, and getting them out was better than doing nothing. Fotograf is the ambient one (part 2 was featured a lot on Adam Curtis films from Bitter Lake onwards, Curtis-heads), Instruktion was me trying to do synthy krautrock and Manuskript was my foray into brittle electronics (with a great big dollop of jungle at the end)

But anyway, I very much hope you enjoy em, it was a lot of fun going back in on these things and I guess it's a fun way of charting how far satan has come. 

Next gig: 23rd October

It's been a while, hasn't it? 

We don't do much in the way of gigging these days, and like to keep it to a minimum per year, but make them extra special.

Well, the next one is coming up - October 23rd, we'll be supporting the lovely Jo Quail at the KCC in Shipley.

 

Tickets are here, and as usual, we'll be doing this year's live set, which is all semi-improvised between me and Sophie. If you've still not caught us live, you can check out a whole boat-load of live shows that I record with my trusty gopro and Zoom recorder (audio comes straight out of the mixing desk, so it's tip top quality) on the satan youtube. Here's the last one, when we supported Pye Corner Audio back in May: 

 

If you're coming from out of town for it, there are plenty of public transport options available, with Shipley train station being a literal 10ish minute walk away, with bus stops, taxis and parking all available outside the venue too. In fact, there's are two car parks round the back and a ton of on-street parking out front, so it'll be fine if you're bringing the car. Loads on info on the KCC website here.

See you all there! 

New Marta Mist!

Back in 2010, me and Sophie did this little experiment and called it Marta Mist. The name was from a character in a murder mystery book we were reading at the time, and the experiment was a big, longform track called 'Distance/ Skeletal/ Union', which we amazingly managed to get signed to a small label called Hibernate (real heads know!) 

Anyway, we decided to keep the whole thing a secret (as was the style at the time), and it was nice to escape the rigours and pressure from the whole worriedaboutsatan thing (which was slowly becoming the Ghosting Season thing at that point) and Sophie's involvement with Her name is Calla. It was nice to have something for ourselves that wouldn't enrage anyone else. 

That all feels like such a long time ago now, and ever since, we've been putting out sporadic little tapes and CDs with the Marta Mist project - just taking our time, away from the more relentless schedule that satan runs with, just our little cottage industry shuffling along as and when we feel like it.

The latest is this one, called 'So Long, Goodbye and Good Luck', which isn't a cry for help, or a document of our impending closure of the project, but a sort of cathartic way of dealing with redundancy from my day job. 

We'd recorded everything on here in fits and spurts over the last year or so, and eagle eared fans might be able to join the dots between 'A Company Man to the Bitter End', and the middle section of the old worriedaboutsatan live set we were playing all last year. Thought it was too nice of a piece of music to leave it there, it needed recording! The rest though, are just little doodles me and Sophie put together whenever we had some spare time, and the closing track, 'We Never Did Get That Victory Lap' is, I think, the first MM track that is 100% Sophie. 

Any road, it's out now and pay-what-you-like for digital, and only £6 for a natty handmade CD (just like the old days of handmade satan CDs, eh?!) 

A tour around Shipley with my album covers

A random shower thought I had the other day was just how many photos of Shipley and Saltaire end up on my album covers, and if you ever had a day off and wanted to explore BD18 in a satan style, here's where everything is:

 

No Knock No Doorbell (2026) 

Victoria Road, Saltaire

This one was taken by Sophie when we were walking home after our local pub's quiz night. It was still summer, hence the green still being on the tree. It's right at the top of Victoria Road, just as you walk onto Bingley Road. 

 

 

The Dream is Over (2026)

 

 Bingley Road, Saltaire

One just round the corner from the album cover, so it's nice they keep a geographical similarity as well as an aesthetic one. This one was a shot I got on my phone one night as I always thought it was cool when they didn't have anything to put on the massive board and just kept it on with an asterisk.

 

The Future Can Wait (2025)

 Caroline Street Social Club, Caroline Street, Saltaire

This was a shot by Marc Leighton, a photographer who was a friend of a friend to start with, and once I'd seen this shot on his instagram, I messaged him to see if I could use it for a cover. He agreed and I think it's one my favourite satan sleeves ever! It's in the main room of the local members club the Caroline St. Social Club. Been to many a gig here, which is just as well as they don't really open the bar to non-members, but allow it once in a while when something's on, or when there's an open day in Saltaire village, 

 

The Pivot (2023) 

Upstairs at The Triangle, 47 Bradford Road, Shipley

As taken on an old camera by me whilst setting up for my first solo gig as worriedaboutsatan, upstairs at the bottle shop The Triangle. I've done so many gigs here since, it's daft even trying to count them. A really nice space though - just go upstairs and wander to the opposite end of the room and you'll see this window.

 

 

I Hope You Like The Bundesliga (2023)

Park Street, Saltaire

Taken on my way to where I used to work around this time one very wintery morning. We were set to buy a house on this road once, which was weird as my dad later told me some of my very old family used to live on the street way back in the day. Never happened, sadly, but the football pitch is nice to kick a ball on every now and then.

 

 

Providence (2021)

 

Shipley clock tower, Kirkgate, Shipley

Taken by John Cade, a local photographer. The old clock tower is a real brutalist beauty. It's recently been in the news as the town applied for it to be a listed building, but as with anything outside of the M25, no-one was interested, so it's seen better days. It's slap bang in the centre of Shipley if you were wondering.

 

 

Time Lapse (2020)

Milner Field Mansion ruins, Higher Coach Road, Bingley

OK, so technically not Shipley or Saltaire, but it's accessible through an old road you follow from the back of my old school in Saltaire. If you follow it up towards Bingley, you come across the old ruins to the Milner Field Manion, that amazingly haven't been cleared up since the 50s/ 60s. It's a wonderful bit of history, and a very very very creepy backstory, which I got intensely obssessed with around this time

 

 

No Knock No Roundup

I figured I should attempt to round up all the nice press I had for No Knock No Doorbell, if for nothing else than my own amusement, as I never remember to put everything in one place. It had some amazing words written about it, so thank you to all those that spent some time with it. Much appreciated :)

Prog Magazine: 

 
Electronic Sound:
 

Rockerilla:

 
  

Moonbuilding did a nice review too (although it's now behind a paywall so I can't read it lol), The Tonearm did a really nice interview piece and review of the record, The Ransom Note asked if I could do a playlist of the stuff I was listening to when I started the band over two decades ago, which I duly did for them (loved this one btw, was a lot of fun!) and I also had a chat with my guy Pato Canton for his radio show, which you can listen back to here.
 

Yorkshire Post:

 

Elsewhere on the web, Magazine Sixty did an interview and review of the album, which was really very nice of them, sonofmarketing did a nice little write up too, and I even had time to squeeze ino mentions on Stereogum (behind a paywall, but trust me when I say it happened!) and NPR of all places (!!) Last but by no means least, Fin at Happening Again said some nice things too.

 

Sun 13:

Melted Form:

 

In at no.29!

Bloody hell, I made the charts again, only this time cracked the top 30! Straight in at no.29, narrowly behind Gorillaz and Bruno Mars hahahahaha. Fucking hell. Incredible.

 

 

Huge thanks to you all for picking up a copy, and I'd like to think my ongoing hatred of Spotify keeps pushing all my records up the charts with each release. Ricochet hit 92, then The Future Can Wait went to 40, Subtle Manoeuvers 39, and now NKND in at 29!

Love it. 

No Knock No Doorbell

Well, here we are then: album no.20 in year 20 of worriedaboutsatan. Not easy going at times, a lot of fun in others, it's been a real ride up to this point.

This record was made a little differently than others, and actually had an entirely different track listing at one point, but I'm super happy with the way it's eventually all come together. Hope you enjoy it too. 

 

 

With a lot of these tracks, the initial ideas were way off from what they eventually became, and I think that's a nice way to look at the album as a whole, and indeed the band as a whole too. The initial tagline for satan was 'Mogwai meets Boards of Canada', and I'd like to believe that whilst it was as good a starting point as any, I've moved past that now into something else completely. Which is good! I like it when things like that happen.

It's funny, at least two tracks on here were supposed to have vocal features, but didn't happen in the end, and I think they're much better off for it. Icelandic Hardcore, the little interlude towards the end of the album, was actually this big massive thing at one point, but it just didn't sit with me - I stripped it all back and just let that lonesome synth figure play on and it was perfect. Before Your Eyes was supposed to be my math-rock number, with me playing guitar in different figures over each other, but it quickly became this sprawling jazzy prog beast instead. Piece By Miserable Piece was left on the hard-drive for aaaaages because I just couldn't get the sound right, but after a while it started to click and eventually became what you hear now. It's fun, charting these things from the initial baseline to what they eventually turned into. 

ANYWAY. I really hope you all enjoy it, and send me a message if you have any questions about it, I'm always here haha.

Gavin x 

 

The Dream Is Over

Introducing your second taste of the new album, here's a single for The Dream Is Over. It comes backed with a remix from my dude Good Weather For An Airstrike, and a b-side called Stress Test:

 

TDIO (for short) is the last track on the new album, so sounds suitably epic as a way to close off the whole record's twists and turns. It actually started life as a little guitar doodle that I didn't really know what to do with. It was part of a bunch of stuff which was really hard to make anything out of - I remember feeling weirdly out of sorts with it, like I couldn't get my mojo going with any of it, so it languished on a hard drive for ages before I decided to take another look at it. 

Over time, with the stuff I added, it took on a new life and became a sort of Massive Attack (Mezzanine-era) thing - the drums were from a sample pack of 80s goth stuff, and the big kit at the end was from just a regular rock sample pack, but I slowed them down a bit and added a beefier kick to make it really wollop. It'd been a while since I'd wolloped anyone, so was surprised and very pleased when I tried it out and the wollop hit hard.

Then I pieced it all together and did my usual thing of throwing everything in there all at once before realising this particular track needed a bit of space and a lot of time to get towards where it needed to go, so stripped it back before layering it all in again. Hey presto! It worked!

Stress Test is an altogether different beast - now and again, when I have a bit of time off from making stuff, or I'm in a bit of a rut, I need a little exercise to get back into it again, so this was one of those. I'd loaded up a few bits from various sample packs I'd had lying around, with nothing in my head apart from having a bit of fun moving stuff around. Again, this was one that was fun, but didn't have a plan for it, so just left it and worked on something else. Something drew me back to it though, and when I opened it back up, I took it a bit more seriously, and started layering in other samples, and when it had this groove I thought 'shit, you know what would sound great here? a jungle break', so I slowed one down and added it and yeah, fucking hell, sounded great - so just kept on and on and on, then it became Stress Test.

The remix is by my old chum Tom Honey, aka Good Weather For An Airstrike. We've been pals for a while, so whilst a particularly frought Tottenham game was on (he's a Spurs fan), he agreed to have a play around with TDIO and shot this back a month or so later. Good lad. 

 

Next gig: 16th May

Howdy!

Well now that Triangle gig has passed, we're onto the next one. It'll be supporting Pye Corner Audio at the Kirkgate Community Centre on May 16th. Tickets are here! 

If you'd like some info on what to expect, let's dig into it and get you clued in.

 

OK so first off, if you've never heard any of Pye Corner Audio's music before, head over to his Bandcamp here. I'd recommend the albums Entangled Routes, Sleep Games and The Black Mill Tapes boxset as great places to start with his brand of super hypnotic electronica.

As for my old pal Dean McPhee, I'd recommend his latest, Astral Gold, and the one before it, Witch's Ladder as cracking places to start with his super hypnotic solo guitar.

Moving onto the venue then...

 

The Kirkgate Community Centre is in the middle of Shipley, basically. Right next door to the main market square. It's here on maps. It's recently been refurbished and has an absolutely killer sound system in there now, and all fully soundproofed too. Which, if you've been to anything there previously, you'll know was sorely needed as those windows loved to rattle haha!

Anyway, there'll be a bar on the night, provided by the Triangle, and if you'd like to stay somewhere close, there's a hotel called the Abbey Lodge literally just opposite, or failing that, a Travelodge just down the road (about a 10 minute walk away). If you're popping over by train, Shipley train station is, again, about a 10 minute walk away - you can pretty much see it from the venue! 

Speaking of, we're about 15 minutes away from Leeds on the train, about 10 away from Bradford, and the gig will be done in time for last trains (the 23:17 being the last one out of Shipley towards Leeds) and buses. There's also a taxi rank outside the venue if you're cabbing it, and there's a car park round the back and onstreet if you're driving yourself.

If you're getting in early, head to Saltaire and walk around the mill, and if you're in the mood for a drink before or after, this being Yorkshire, we've well and truly got you covered. I'd recommend the aforementioned Triangle in Shipley, Fanny's in Saltaire, Reconnection down the road, and the Ring O' Bells just up the road. Food wise, you're properly spoiled for choice. There's the Greek Cafe opposite, the Cedar Tree takeaway just down the hill (they do a fucking lovely kebab in fairness), the Tapas Tree restaurant about 10 minutes walk away, and if you're in the mood for a curry, my recommendations are the Aagrah (it's next door to the Cedar Tree) and Shimla Spice (a little further up into town, but it's my personal favourite). If you're late or just cba with a sit down sort of deal, then there's an Asda close by and a Gregg's round the corner too - what more could you want?

Gig wise, we're doing doors at 7, Dean on at 7.30, us on at 8.15 and PCA on at 9pm.

If you've any questions about it in any capacity whatsoever, just send me a message. 

 

Live at the Triangle, 06/02/26

Well that went well didn't it, eh? haha

An absolutely stonking gig on Friday - massive thanks to all who showed up, really very much appreciated! Here are a few snaps and a video in case you missed it, or would like to revisit it:

 All photos by the brilliant Ren Conrad

And if you'd like to see the full thing, I recorded the set on my gopro and took a line out from the desk too, so the audio is super clear:

 

No Knock No Doorbell

Well, friends, it's time for a satan classic: a new album rollout.

This time's a little different though, as the album is having a longer rollout than usual - thought it about time these things had a little chance to breathe and have a moment in the sun rather than just plonking it on the digital table and being like 'here you go - have at it'.

So, with that in mind, here's the album... it's up for pre-order now: 

 

It's available on CD and cassette this time too, and if you hit that pre-order button now, you get lead track A Looming Spectre immediately. That one sounds like this, if you're curious:

Musically, the album is a little different to the last few. It's a bit more taut, a bit more reigned in, a little less 'free' but still has that dark, brooding sound. There aren't many long ones on it basically, it's cut up into these concentrated little chunks of electronica. A lot of stuff on there too: mad jazz drum math rock, some spacey trip hop, gnarled, frazzled drone, little guitar based skits, the lot. 

Hope you all enjoy it anyway, and I'll be back next month with another track off it :)

Live!

Got some gigs coming up, which will delight the small percentage of satan fans that live within the boundries of West Yorkshire. 

 First one up is this one, at Shipley Triangle on February 6th:

It's with our good friends Hexama, and will be a blast. 

Tickets here! 

Doors at 7, Hexama at 8, us at 9, everything wrapped up and done by 10 at the absolute latest, so you can all go home and get some kip. If you're new to the area, or you're traveling, the Triangle is here on maps. It's on a main road, next to a car park, and on various bus routes too. The train station for Shipley is about a 15 minute walk, and the one for Saltaire is about the same just in the opposite direction.

The Triangle is a bottle shop, and fully stocked with pretty much anything you could want: beers, pop, wine, coffee, 0%-ers, lethal whiskies, you name it. If you're after food though, there are plenty of options - 2 Italians, a chinese and an Indian are just over the road, and if you want something even quicker, there's a big Asda literally round the back of the venue, so you can stock up on sarnies and crisps. Failing that, Saltaire itself has plenty of options and is about 15 mins away walking. Plus it's dead nice, so come early and have a look around? 

Music wise, it'll be a totally brand new set, all semi-improvised, so it's not something we've released before or anything like that. Here are a few shots of us practicing over the weekend:

 Details on the second show we've got lined up coming soon..!

 

Favourite albums of 2025

here we go then, time for another roundup! fuck spotify wrapped, here's some stuff I really really liked this year:

Cheekface - Middle Spoon (fun indie pop)

Kinski - Stumbledown Terrace (krauty noise rock)

Clipping - Dead Channel Sky (glitchy noise-rap)

Pan American & Michael Grigoni - New World, Lonely Ride (beautiful pastoral acoustic instrumentals)

Pink Floyd - Live At Pompeii (2025 Mix) (legendary live prog)

Surgeon - Shell-Wave (relentless stripped back techno)

Yoo Doo Right with Population II and Nolan Potter - Yoo II (perhaps my favourite album this year, just relentless Neu! style rippers)

Deradoorian - Ready for Heaven (sort of post-punky/ indie stuff)

billy woods - Golliwog  (the most intense, brutal rap album of the year)

IE - Reverse Earth (spacey/ dreamy kosmische stuff, really pretty)

Stephen Vitiello with Brendan Canty and Hahn Rowe - Second (jazzy/ kosmische-y instrumentals)

Holden & Zimpel - The Universe Will Take Care of You (improv synth stuff)

Nenjah Nycist x Trust One - I Hope These Gems Stay with You (awesome old skool rap)

The Armed - The Future is Here and Everything Needs to be Destroyed (pure brutality)

Deftones - Private Music (yes lads! big metal, huge riffs)

Valentina Magaletti/ YPY - Kansai Bruises (skittery, jazzy electronic)

Oren Ambarchi - Ghosted III (jazzy/ kosmische-y instrumentals. 'barchi-core)

Neko Case - Neon Grey Midnight Green (intense folksy singer/ songwriter stuff. legendary)

Soulwax - All Systems Are Lying (big electronic prog/ dance)

Steve Hauschildt - Aeropsia (Tangerine Dreamy electronic floatiness)

Verity Den - wet glass (amazing lo-fi indie rock, sort of like Sonic Youth in bits) 

Lucrecia Dalt - A Danger to Ourselves (South American singer/ songwriter fare)

Carrier - Rhythm Immortal (underwater, slow motion techno)

Clark - Steep Stims (typical Clark [in a good way])

SDEM - At Quadrant Park (Autechre-adjacent electronic business)

Slow Crush - Thirst (loud, heavy shoegaze)

Slime City - National Record of Achievement (nerdy, fun rock a-la Devo, etc)

The Bug vs Ghost Dubs - Implosion  (sludgey sub-shredders)

HEALTH - Conflict DLC  (bonkers dystopian indsustrial slammers)

 

Other stuff I liked from this year:

The summer being nice and hot, and not a washout like the last 2

Seeing Autechre twice

Raising over £1k for Cancer Research off sales of Subtle Manoeuvers

Bradford City of Culture stuff

Finally seeing Deftones again, after the last time (2008?) was marred with shite sound

Seeing Sophie smash a headline set with my guys Maybeshewill, after my car broke down on the way to Arctangent (took all day to get there on the train instead)

Finally getting some decent promo pictures done, courtesy of my old mate Jez Sheard

Seeing Villa go from 'oh shit, we're in deep doo-doo here' to 'oh shit, we're actually quite good?'

Reading The Spy Who Came in from the Cold by John le Carre (seriously, what a book) 

Liz Pelly's book Mood Machine

This Drew Gooden video 

Showing off

I was talking to Siavash Amini and Brandon Invergo the other day over on Bluesky, and the topic was 'what do you do to keep people interested in an album that's come out but not that old just yet?' - that inverse sweet spot where the album is, say 3 months old, so it's not new but it's not quite archive territory just yet. How do you keep people interested, how do you keep them invested in this work that may have taken you years, but is all over in the blink of an eye after it's put out into the world?

One thought I had is basically just showing off.

I'm not one to go around tooting my own horn much, and I'm pretty sure both Brandon and Siavash are like me in that regard, but I'm thinking more and more like we need to break out of that more insular, reserved sort of headspace and show off once in a while.

Like, obviously not be an egotistical dick about these things - there's a balance you have to strike, like a lot in life I suppose, but there should be a way of basically saying 'HEY, I'M PRETTY GOOD Y'KNOW!' without coming across like a complete knobhead.

I started a thread on Bluesky recently, just showcasing some of the stuff I've done over the past 19 years - the Adam Curtis stuff, the gigs, festivals, etc. that I've been involved in. Y'know, the cool shit - the really fun stuff. Because if I don't do this sort of thing, literally no-one else will, so the next time someone offers me a gig for no money, or never responds to my emails, etc. I can look at this thread and think 'yeah fuck that, I'm worth something!' instead of drying up into a ball of self doubt and anxiety.

Because sadly, all this stuff I put in that thread means absolute zero when you're talking to people in 'the biz' - the agents, the labels, the press, etc. it's all 'how many streams do you have on spotify?' (sigh) or 'how big is this person this week?' and without big PR, or a label push, it's unlikely you'll tick all their boxes. And even if you do have those things, it's still fucking hard. So you'll rush to release something else, just to get that sweet hit of something so people can talk about you. 

So yeah, go on, even if it's just for yourself, just fucking show off once in a while, it's a nice reminder if nothing else, of all the stuff you've actually accomplished over the years. And trust me, even plucking one note or standing on one stage is waaaaaay more than most people do in life, so you've done more than most already. Just shout about it more! 

All The Way...

New single out today!

It's one of those 360 degree handbrake turns that I love to throw in there every now and then. Gone are the beautiful textured ambient atmospheres and dub techno soundscapes, and in come some absolutely unhinged, feral electro-disco stompers.

I actually did these at the start of the year, but other things sort of got in the way, so couldn't just put them out then and there, which was the original idea.

They came out of me listening to a lot of that early Factory Floor stuff and wondering why the hell no-one does this anymore. Surely it's just really visceral and fun - we should all be doing this?! So anyway, I set everything up and just let rip. 

When recording, due to the way my very old setup works, I basically had to just record the synth in one go and hope I'd get it right with transitions and crescendos, etc. without hearing the beat, bassline, or anything else. It was quite fun working like that, in a weird way. I built the rest of the track around these one take wonders, and so even though it sounds very loose and jammy, it's been pieced together with painstaking detail!

Anyway, enough yakkin', here it is:

 

Won't someone please think of the exposure!

Hahahahahaha, I mean fucking hell:

 

 

Pulling the old 'do it for the exposure' thing, but pulling it on Taylor Swift is a beutiful encapsulation of the music biz, really. You couldn't ask for a better headline than that. I mean, fuck me - she earns *billions*, never needs to play a festival ever again because each one of her shows is basically a festival anyway. It's insane, the GDP of countries go up when she rolls into town, and the fucking Superbowl thought 'nah we're not paying for that, if you're lucky you can pay us' hahaha. Incredible.

 

Got me thinking about exposure though, mainly in the ways I've personally been royally fucked over by it over the years.

 

I suppose, this being an 'industry' and a 'business', you will eventually have to dance with the devil at one point (or several to be honest), but part of doing this, of making music, is finding that line between 'this might benefit me' and 'this is a joke, fuck off'. It's all part of growing up, I guess. When you're young, you're bulletproof - you can do whatever, whenever, and it just doesn't matter. Yeah, play that gig for free, do that remix, get your name out there, sure why not eh?

 

But as you get older, as you wise up, you get experience. People always make fun of me because I have a 'grudge list', which is essentially a big list of things I'm never doing again, and a list of people or entities whom it's not worth my time to entertain anymore. I don't look at it as a grudge list though, I look at it as my protection - a way of shielding myself from another shitty experience. You'll, in time, come up with one whether explicitly or not, trust me.

 

But we all have to play a game we don't want to sometimes. I once did a remix, and against my better judgement, said yes to a band I didn't really know. I asked about budget and they just came up with some stuff about not having a budget, having to pay loads of other people, etc. Now I don't mind doing freebies for mates - I do them all the time tbh, but if I don't know you just yet, it's different. So having the rug pulled like this, I did whatever I could to at least have some control over it. So I loaded in their remix stems, put reverb up to 100% on all of them and called it a day. Took 30 minutes, but I figured they were getting what they paid for, ie. absolutely nothing. They loved it anyway, haha.

 

So anyway, my advice is to hone that instinct - know what you're worth, and don't accept anything less. It takes time, and you'll have to eat the occasionaly shit sandwich, but we all do. Just don't eat too many. 

New live set

With 2025 heading towards the exit door, me and Sophie thought it'd be a great idea to work on a brand new live set for the new year, where we're hoping to get back out on the road again. 

It's sounding amazing so far, a lot darker than the one we've been playing for the past year, but really cool. We've upgraded a lot of the gear, and elevated Sophie's violin into the set, so she's not just playing a lot of atmospheres and loops now. 

Here are a few snaps from the practice sessions we've had so far: