Author: electricityclub (Page 1 of 431)

“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE

“Good taste is exclusive”: NICK RHODES

Introducing SDH

11 February 2026 /

It might be strange to be introducing SEMIOTICS DEPARTMENT OF HETERONYMS who already have 2 albums to their name and toured extensively.

However, the intriguing Barcelona-based duo of Andrea P Latorre and Sergi Algiz are on the cusp of a wider international breakthrough having signed to Canadian independent Artoffact Records (home of FRONT LINE ASSEMBLY, ACTORS, LEATHERS, KANGA and ULTRA SUNN) a few years ago.

From the wider family of dark but danceable duos that include LINEA ASPERA, BOY HARSHER, ESSAIE PAS, PARADOX OBCUR, LOCAL SUICIDE and NNHMN, the shadowy interim single ‘Threshold’ in 2025 pointed to more ambitious structures and inventive interplay that built towards an unexpected climax. Occasionally though, SDH can do pop as ‘All Of That’, the Italo-influenced B-side to their 2022 single ‘Maybe A Body’ proved.

While their 2018 self-titled album debut was reissued by Artoffact in 2024, ahead their first long playing release of new material on the label, SDH have unleashed the superb title song as a single; ‘Rider’ pushes ELECTRICITYCLUB.CO.UK’s buttons with nonchalant female vocals which then twist into something more traditionally folky in the haunting middle eight, Numanesque vox humana synths, spacey arpeggios and hypnotic dance rhythms attached to a squelchy synthbass mantra.

Framing the album’s themes around movement and escape, as well as falling under the spell of JG Ballard, the cerebral DIY video accompaniment for the track captures a tense cut-up aesthetic where a speedy windswept night drive with a blue showroom dummy encounters seedy alleyways, empty highways and wild wolves in the woods before the inevitable… it is bleak yet alluring!

Following their most recent album ‘Fake is Real’ with its highlights ‘Talk In Dreams’, ‘Hollowed Out’ and the brilliant COIL tribute ‘Balance’, SDH’s have promised further growth with a record of collisions or “crash body music” as described by the duo themselves. Intended to be heard after the impact, these are literally striking metaphors with “Bodies exposed to external forces, subjected to repeated impacts, and evaluated after the damage”.

‘Rider’ is from the forthcoming album of the same name released by Artoffact Records on 17th April 2026 in blue vinyl LP, CD and digital formats, pre-order from https://semioticsdepartmentofheteronyms.bandcamp.com/

https://www.facebook.com/semioticsdepartmentofheteronyms/

https://www.instagram.com/sdh_______/

https://open.spotify.com/artist/2RA8ReKDkqwdnz1SSkWikD

Text by Chi Ming Lai
11th February 2026

FIAT LUX Desire & Belief

5 February 2026 /

It seems strange to think that despite releasing their debut single at the end of 1982, there were there were no FIAT LUX albums before 2019.

That single ‘Feels Like Winter Again’ was produced by Bill Nelson and led to a deal with Polydor and his brother Ian joining the founding FIAT LUX nucleus of lead singer Steve Wright and multi-instrumentalist David P Crickmore. There was a six song ‘Hired History’ EP in 1984, but the lack of a hit single saw their intended debut album ‘Ark Of Embers’ short-sightedly shelved by Polydor in 1985.

Ian Nelson sadly passed away in 2006 but Wright and Crickmore returned as FIAT LUX in 2017. Since then, not only were ‘Hired History’ and the previously unreleased ‘Ark Of Embers’ given the Cherry Red treatment and made available in 2019 but there have been two FIAT LUX albums ‘Saved Symmetry’ and ‘Twisted Culture’; both comprised of completely new 21st Century material with Will Howard taking over from the late Ian Nelson as the third FIAT LUX member on sax and woodwinds.

FIAT LUX have returned with ‘Desire & Belief’, their first long player since 2021 and its artwork ably captures the chilly windswept Northern English atmospheres of this album. It begins with the dusky ambience of ‘Summer Solstice’ but as “my world is changing”, ‘Spirit Of The Age’ is spritely yet filled with anxiety. ‘Am I Dreaming’ asks Wright as FIAT LUX enter into a droning darker place that is shaped by a haunting drum manta.

‘Clear Sky’ romps with a jagged synth attack before sax and a guitar solo enter “a space that comforts you”, but there’s a slight air of PINK FLOYD’s ‘Comfortably Numb’ in the structure of ‘I Never Explode’ before journeying into the deep shady moods of ‘Shallow Hollow Souls’. The ‘Desire & Belief’ title song adds percussive tension but after all that, ‘Turn Me Around’ bursts in with some bouncy synth-brassy synthpop.

With a pulsing electronic backbone, ‘Winter Solstice’ must be the first pop song about Seasonal Affective Disorder and is highly relatable, especially with Wright’s emotive Scott Walker tones. To close, ‘All The Stars Have Died’ is a spoken word art piece that mildy gets funky with screeching sax and jazzy breaks.

With its moody disposition and cinematic atmospheres offset by the occasional slice of accessible synthpop, ‘Desire & Belief’ will satisfy those who have enjoyed the work of FIAT LUX since their 21st Century return.

‘Desire & Belief’ is released on 6th February 2026 as a red vinyl LP and CD by Nine X Nine Records

http://www.fiat-lux.co.uk

https://www.facebook.com/Fiatluxofficial

Text and Interview by Chi Ming Lai
5th February 2026

KNIGHT$ Supernatural Lover

2 February 2026 /

KNIGHT$ has been called “an animated Andrew Eldritch fronting FRANKIE GOES TO HOLLYWOOD” although ELECTRICITYCLUB.CO.UK thinks more Richard Butler fronting PET SHOP BOYS to sum up his look.

His energetic pulsing electronic style has been perfect for the live arena and the often immediate rapport he builds with new audiences that then quickly switches into a frenzy makes him a perfect opening act, as those who arrived early on Andy Bell’s German tour found out in a pounding pairing with had so much disco potential.

KNIGHT$ is the project of James Knights, previously of SCARLET SOHO. Since going solo, he has been making waves throughout Europe with his sparkling Gelato flavoured Britalo which debuted in long playing form with 2019’s ‘Dollars & Cents’. After a standalone single ‘Boom Bang Boom!’ and an EP ‘$auna Mu$ik’, as 2026 begins, the follow-up long player ‘Supernatural Lover’ is finally here and captures a period of turbulence and change.

But the opening salvo ‘Knightmares’ is business as usual and produced with regular studio partner Martin Dubka. However, those listening closely will clock a slightly different vocal approach thanks to the song being set in A minor. Following on, the ‘Supernatural Lover’ title song is a moment of pure euphoria where KNIGHT$ channels his inner Patrick Cowley; a danceable delight saucily “custom built with velocity”, it is a throbbing Hi-NRG ditty that will delight fans of DEAD OR ALIVE, BRONSKI BEAT and BOYTRONIC to tell the story of a paranormal love encounter where our hero exclaims “you gave me the fright of my life”!

‘Bite The Nite’ goes all classic New York freestyle in a delightful glance across the Atlantic but ‘Light The Fuse’ heads back to Europe with a no-nonsense rhythm section and filtered synths, crossing Italian band STYLOO with Germany’s ALPHAVILLE to fully propel that rousing Europop vibe.

Although the first half of the album has been co-produced by Martin Dubka, the second half features a bunch of outliers which shows our hero is prepared to take a few risks. First here’s a HI-NRG cover of YAZOO’s ‘Goodbye 70s’, produced and mixed by RETROTEQUE which works well before ‘I Die for This Love’, a song written and produced by Bjarne Johansson Sund of the Swedish synthpop trio CRED that provides an emotive tale of yearning shaped by a chunky bassline, icy strings and orchestra stabs.

Throwing the scent off further, ‘D.G.D’ is an unusual collage set piece shaped by arpeggiators from a Korg Prologue 8 to provide an unnerving DAF-esque pulse with the stark political message that “Deutschland’s getting darker”. This is something very unlike anything KNIGHT$ has done before, especially in its deep stoic vocal delivery. Self-referencing himself as “Mister Survivor”, a final surprise comes with ‘Can’t Cry Any Longer’ where James Knights explores his inner George Michael accompanied by Mike Gilham on piano to balance all the energy before it.

A record showing different voices sides of KNIGHT$, ‘Supernatural Lover’ is an intimate document of struggle and survival, obsession and loss set mostly to uptempo dance rhythms that is a worthy follow-up to ‘Dollars & Cents’.

“I saw ‘side two’ as a chance to experiment a bit and step outside my usual setup” said James Knights to ELECTRICITYCLUB.CO.UK, “Working with Martin Dubka on ‘side one’ gave the record its core identity, but I wanted the flip side to feel looser — a space to try new ideas and collaborate with different people.”

Short and sharp to keep proceedings tight and meaningful with each song maintaining its own purpose, KNIGHT$ could head in any number of directions for album number three but for now, he is maintaining his friendships while making some brand new ones.

‘Supernatural Lover’ is released by Specchio Uomo on 5th February 2026 as a vinyl LP and digital release, CD includes bonus songs ‘What Planet Did You Come From? (Baby)’, ‘Hi-NRG Crisis’, ‘Hit That Perfect Beat’ and ‘Boom Bang Boom!’ – pre-order from https://knights101.bandcamp.com/

KNIGHT$ 2026 European live dates include:

Paris Atomic Cat (12th February), Leverkusen Shadow (20th February), Leipzig Darkflower (21st February), London Aces & Eights (29th May), Munich Milla (31st May – with TRANS-X)

http://knights101.com/

https://www.facebook.com/Knights101/

https://www.instagram.com/knights101/

Text by Chi Ming Lai
2nd February 2026

LOCAL SUICIDE Interview

30 January 2026 /

Dina Pascal and her husband Max Brudi are the Berlin based-duo LOCAL SUICIDE who are also two thirds of the disco goth trio DINA SUMMER with Jakob Häglsperger aka Kalipo.

Having issued two acclaimed DINA SUMMER albums ‘Rimini’ and ‘Girls Gang’ as well as an EP ‘Hide & Seek’, Dina and Max returned as LOCAL SUICIDE at the end of 2025 with the ‘Houdini’ EP, their darkest and boldest work yet on their own label Iptamenos Discos.

With their industrialised bass lines, ghostly vintage synths, haunting distorted vocal chants and thumping energy, opening track ‘Obsessions’ bridges darkwave and techno. A collaboration with fellow Berlin resident Skelesys, ‘Submission’ is a declaration of defiance as the call for “Resistance, no submission” runs true in the current political climate. Meanwhile the ‘Houdini’ title song pays homage to the legendary illusionist with an accessible theatrical edge despite the haunting shadowy atmosphere.

Dina and Max chatted to ELECTRICITYCLUB.CO.UK about the return of LOCAL SUICIDE, the creative process of ‘Houdini’ and their plans for the year.

You’ve had busy a few years with DINA SUMMER and Iptamenos Discos, how has it been for you?

Dina: It’s been really busy but also really exciting. We focused a lot on our second DINA SUMMER album, released a lot of music on Iptamenos Discos and toured extensively. It’s been amazing to reach new audiences and see how people connect with the music – we’re very happy with how it’s all turned out.

How did you decide that it was time to make some new LOCAL SUICIDE music?

Dina: We had very few LOCAL SUICIDE releases recently because the DINA SUMMER album took most of our attention and time. We also didn’t want to overwhelm anyone with too many releases under different projects. Production-wise, it’s been a quiet year – touring, day jobs, and album work left little studio time. The tracks on this most recent EP were actually created during the pandemic, but now it felt like the right moment to finally share them with the world.

So when does DINA SUMMER stop and LOCAL SUICIDE begin, how do the creative processes differ? Some might say a track like ‘In Space We Roam’ could be mistaken for DINA SUMMER?

Dina: There are definitely a lot of common points, since we are two thirds of DINA SUMMER. But in DINA SUMMER, Kalipo plays a defining role in shaping the sound, so his influence is obviously a huge part of that project.

Max: DINA SUMMER was initially planned as a regular collaboration like we’ve done countless times over the years but then it quickly turned into a band after we realised that we are very compatible with Kalipo and get along personally very well. Also DINA SUMMER’s sound is generally more accessible and not as raw/rough as most of our LOCAL SUICIDE releases. I think you can hear our distinctive style out of almost all of our 200+ tracks but as our taste changes over the years you will surely hear a musical development as well. Most of the tracks of the first DINA SUMMER album were written inbetween 2019-2021, which is about the same time that our new ‘Houdini’ EP was produced and all songs of the ‘In Space We Roam’ EP as well!

The ‘Houdini’ EP is a much darker proposition than anything you have done recently? Does the title have any wider significance?

Dina: It is darker indeed. The EP was created during the pandemic, when everything felt a bit dystopian. We’ve always enjoyed dark sounds, but during that time it came very naturally. As a child, I was very fascinated by the story of Houdini and always wanted to make a song about him, so the title also comes from that long-standing fascination.

Max: We had written about 8 tracks with Skelesys in the same time period. The more lighter tracks went onto our ‘In Space We Roam’ EP and our LOCAL SUICIDE album and the dark ones are on the ‘Houdini’ EP. We still got two more clubby ones. We’ll probably release those ones next year.

So “The great Houdini, the big escape”? The title track is a bit more accessible but musically, what were the subtle melodies inspired by?

Dina: We draw inspiration from everything around us – our surroundings, life experiences, and of course other artists. The 80s remain a big influence for us, shaping many of the melodic choices and textures.

Max: Not sure what the melodies were inspired by to be honest. I think we added the lyrics after we had the structure and all musical elements were written already. We were looking for a nice pleasant pad for the break to find a contrast as the track was quite aggressive overall and then found this beautiful organ sound on our Roland D50.

Why did you opt for a three track EP as opposed to an album, was this for conceptual reasons or due to time availability constraints?

Dina: The tracks were already half-finished for a few years, and we just needed the time to complete them. With everything else going on, there wasn’t space to make more. But we’re definitely planning to start working on a second LOCAL SUICIDE album next year.

Max: This EP felt like it’s a round bundle as it was, we are still figuring out in which musical direction our next album will be going. We’ve started a lot of nice tracks alone and with old and new friends but are still waiting for a superior topic that excites us enough to fully dive into the matter.

So what are your ‘Obsessions’ right now and how have they contributed to the track’s deep and heavy mantric sound?

Dina: Oh, there are too many to list, and they’re always changing! Sometimes it’s a track I can’t stop listening to – lately I’ve been revisiting ‘Vienna’ by ULTRAVOX. I also keep returning to AIR, who have been a long-time obsession of mine; their music is something I play on repeat whenever I want to relax. I get absorbed by films too. This year I didn’t have much time to watch films, but on a flight I finally watched the new ‘Beetlejuice’ and it was so inspiring – I even found myself watching certain scenes over and over for weeks after, like the wedding sequence. All of these obsessions, whether music, film, or otherwise, naturally feed into the atmosphere and intensity of our music.

‘Submission’ is a collaboration with Skelesys that has this looming percussive tension to it, what was its genesis?

Dina: We’re very close friends with Skelesys and he’s one of our most frequent collaborators. We really love each other’s energy in the studio, so the process is very open – we just let loose and see what happens. With this track, we initially wanted to do a Nine Inch Nails rework just for fun, but it quickly took a completely different direction.

Max: I think this track – just like the two originals on this EP – is showcasing our darkest and most dystopian side with spooky melodies, repetitive hard bass lines and distorted punkish vocals.

There are reworkings from French electroclash pioneer David Carretta of ‘Obessions’ and Alpha Sect from Greece of ‘Submission’; how do you select remixers and do you set them a brief or does that defeat the objective?

Dina: We’ve been huge fans of David Carretta since we started DJing, so receiving such an amazing remix from him feels like a dream come true. We actually got a remix request for his label and asked if he’d be up for an exchange. We also met him a few times over the past years – he’s incredibly sweet, kind and a true musical genius.

Alpha Sect is a very close friend of ours. We met him years ago when he was still living in Thessaloniki, and since I’m from there, we would often see him when visiting family. Nowadays, we catch up in Berlin or Thessaloniki whenever we’re in the same city. We love him as a person and truly believe in his talent. We had already done a remix for him, so this was also a remix exchange.

In general, we don’t give any briefs – the whole point is to let remixers fully interpret the track in their own way.

What is next for you, in whatever guise?

Dina: Next year, we will release more music as DINA SUMMER, tracks that didn’t fit on the album musically, plus some new material. We’re planning an EP that will come out gradually as singles, and we are also part of CURSES’ ‘Next Wave Acid Punx’ with a collaboration with our buddy Phunkadelica.

As LOCAL SUICIDE, we are working on some exciting collabs with artists like Zimmer, Nick Hanzo, Andre VII, Italo Brutalo, Oh!, Facets, Wiener Planquadrat, Hard Ton, Mike Sacchetti, Silenzi, Bobby Nourmand, OPS, Franz Matthews and NiKiT.

Gig-wise, we’re ending the year with a small Colombia / Mexico tour with two DINA SUMMER live gigs and a few LOCAL SUICIDE DJ sets. In the summer we’ll play Amphi Festival in Cologne, the Out Of Line Weekender in Berlin plus some more that aren’t announced yet and we’ve just confirmed a very special Halloween show in London for 2026!

Max: Also it’s the 5 year anniversary of our label Iptamenos Discos next year so we are planning a vinyl compilation, reissues, label parties all over Europe and got a bunch of EPs and singles by ourselves and friends in the making.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to LOCAL SUICIDE

Special thanks to Carina Cheung at Eclectica

‘Houdini’ is released as a 12” vinyl EP by Iptamenos Discos, further information via https://localsuicide.bfan.link/houdini

https://localsuicide.com/

https://www.facebook.com/localsuicide

https://www.instagram.com/localsuicide/

https://www.tiktok.com/@localscd

https://soundcloud.com/localsuicide

https://www.youtube.com/@LocalSuicide

https://open.spotify.com/artist/0oRegIGGmJDXVaVfgWuoz0?si=A8O4YLQnQg2SVZ2wP2RRag

https://iptamenosdiscos.com/

https://www.instagram.com/iptamenosdiscos

https://iptamenosdiscos.bandcamp.com/

Text and Interview by Chi Ming Lai
Photos by Omar Luis Choomare
30th January 2026

A THOUSAND MAD THINGS Interview

26 January 2026 /

Photo by Romy Caton-Jones

While the music of A THOUSAND MAD THINGS may evoke feelings of nostalgia, William Barradale is no tribute act or one for novelty or pastiche.

Emerging as the best new act of 2025, the debut EP ‘Cry & Dance’ was an impressive statement. Growing up gay and vulnerable in suburban England, William Barradale found he could relate to the voices and music of classic acts like BRONSKI BEAT, SOFT CELL and ASSOCIATES as a tortured outsider navigating young manhood.

Augmented for gigs by James Foulsham-Rogers on synths, A THOUSAND MAD THINGS are a compelling live act with William Barradale tidily dressed and expressing himself physically in a manner recalling Ian Curtis, Andy McCluskey and James New of MIRRORS while delivering his emotionally rich vocals.

Co-produced by Mike Peden who first made his name as a member of THE CHIMES, the new single ‘Promises’ comes ahead of the second EP from A THOUSAND MAD THINGS due out later in 2026 to continue Barradale’s shadowy journey through adolescent memories, doomed romances and loneliness. He kindly spoke to ELECTRICITYCLUB.CO.UK about his creative approaches…

You only have one chance to make a first impression and you did it well. What does ‘Cry & Dance’ mean to you personally, was making the EP cathartic at all?

‘Cry & Dance’ will always be special for me. I feel when making music, it’s important to encourage yourself into a vulnerable place, and feel that the best music is honest. I went into the writing process with my producer wanting to create music that was raw and upfront about what it was. ‘Cry & Dance’ does what it says on the tin in that respect. It’s obvious where it comes from musically and I didn’t want to hide away from that. The songs will always hold deep meaning because they come from a place of such vulnerability. But balancing that pain with pleasure is what it’s all about. As a first body of work, I’m happy.

How did you become immersed in classic synthpop, was it something introduced to you by your parents or was it the teenager thing of discovering a passion of your own?

My dad brought me up on TEARS FOR FEARS, more than any of the other 80s bands. ‘Songs From The Big Chair’ was absolutely huge for me and no-one else was listening to that music when I was a kid. And I remember how uniform and predictable pop music could be when I was at school of course with a few exceptions (we’re talking 2010-15 when I was in secondary school). I was quite a depressive kid but found solace in that genre and time period. Something about the performances and the social commentary liberated me from boredom and hurt and they always do. I think of songs like ‘The Downtown Lights’ by THE BLUE NILE, ‘The Working Hour’ by TEARS FOR FEARS and ‘Smalltown Boy’ by BRONSKI BEAT, which growing up a gay boy I didn’t even figure out the context of until later on in my teenage years but the message penetrated nonetheless.

Photo by Romy Caton-Jones

You’ve talked about nostalgia on a few occasions, some say today’s pop music is not as good as in the past, do you see any argument for that? What is the attraction of the past?

I think in a world determined to accelerate forward at such a relentless pace, it is important to have things to look back to, even if it’s predicated on a fantasy vintage zeitgeist. To me, the future is absolutely terrifying and seemingly more out of our hands than we even know. I don’t like to use the word naive because I know how considered and detailed the producers and artists were back in the 80s synthpop-era but there is something about the direct approach to sounds and performances that always resonated with me, I feel no-one was hiding behind anything. The rawness, honesty and weirdness in some of the records and shown in the wider culture is remarkable. It’s human. And stuff being more ‘human’ is about to be a bigger virtue than anyone realises.

What was the genesis of ‘Wide Awake’? You really get to play with your vocal range there, do you have any favourite singers?

My favourite singers are Sarah Vaughan and Billy MacKenzie. On ‘Wide Awake’ in particular, Billy’s approach to range was a huge inspiration, it’s a f*cking nightmare to sing and I love it. I wanna hear someone cover it.

In a time when the darkwave sub-genre has become prevalent in alternative electronic music but lacking in quality on the song, vocal and production front, what stands out about ‘Cry & Dance’ is your songwriting, how did you nurture your craft, what sort of bands had you been in before?

I’ve always been a solo artist even though I always thought being in a band was cool. And I always felt very without a home genre / scene. Even now, I think it’s convenient to categorise my music as darkwave synthpop but I think it goes deeper than that. Sometimes I long to just play the piano, I love listening to jazz and classical music. Sometimes I don’t even like listening to music at all. My outlook on writing is that a good song is sort of universal and can translate across genre and setup so my aspiration is to always just to try and nail the song and make good pop music. Then as we produce it, that’s where you often find the colour and the scene and the genre. Not saying I don’t have sounds and references I like and rely on, but sometimes I’ll write a song and the demo will be completely different to the finished piece. Lyrically and contextually, my writing almost always comes from personal experience, I love stories but I’ve always been crap at writing them, it gets too weird.

You posted a selfie on your socials next to an ARP 2600, Roland SH2 and a Dave Smith Prophet, are they yours? Where do you stand on the hardware versus software debate?

They are unfortunately not mine. I use a lot of software just cos I can’t afford the proper synths right now, but I have a list and will one day build a studio full of my favourites. I think it depends on the application, especially for bass parts something like the Pro-One is just impossible to recreate digitally and have it as good. I find it incredible how close developers have gotten when making recreations though, some of them are great. I also use Serum by Xfer Records a lot and I think that thing sounds fantastic.

Was ‘Local Guys’ autobiographical? Do you hope your music may help those navigating adulthood in the way acts like SOFT CELL and BRONSKI BEAT did?

Yes it is. If my music could make another person feel the way BRONSKI BEAT made me feel as a teenage boy I’d die happy.

You have mentioned that one of your favourite bands is RADIOHEAD, is there anything in their approach that influences the way you make music with synths?

I think in general the musicality and emotional nature of RADIOHEAD just really resonates with me. ‘In Rainbows’ is my favourite album.

‘My Car’ has this emotive expression of longing and appears to be about unrequited love, what’s the furthest you have ever driven for someone?

The worst journey I can think of is driving across Central London in rush hour. I have only done that for people I really love.

The new single ‘Promises’ heralds a new EP coming in 2026 and has more of rhythmic bounce compared with what was on ‘Cry & Dance’, where are you taking your sound next?

Although all these songs were made at a similar time, EP2 has more energy in its production and tone. I picked the songs I felt had more to say for themselves to go second. ‘Cry & Dance’ was about establishing the project and EP2 feels more expressive and darker in tone. I have a whole concept about what it is to be a flawed person and each song represents a different part of that person (the thoughts, the feelings, the body, the needs etc). I wanted to hold back these songs for EP2 because I wanted to wait until I had some attention to share them. The sound is similar though and it’s a lot of the same synths and production style.

Do you have a title for the second EP and are there any of the songs you would like to talk about?

The title will be ‘Hate It’, I’ve taken that name from the 5th track of the EP.

What are your plans for playing live in 2026?

Hopefully we will play as much as possible, UK and EU. We’re playing with PIXEL GRIP in February for a few nights in London, Bristol and Manchester and I think that’s going to be fantastic. Myself and Jim have developed the show over the new year so I’m excited to show people new material and a bigger and bolder set than we’ve done before. I love to travel and play so I hope to see as many cities as possible and a few festivals in summer would put the cherry on top.

What are your hopes and fears as A THOUSAND MAD THINGS gains momentum?

I don’t really have fears except creative stagnation. My hopes are to be an artist people find refreshing and unique but also make songs they find infectious. Selling out a headline show is my personal target for this year.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to A THOUSAND MAD THINGS

Special thanks to James Crosley at Nettwerk Music Group

A THOUSAND MAD THINGS 2026 live dates opening for PIXEL GRIP include:
London The Lexington (12th February), Bristol The Croft (13th February), Manchester YES Basement (14th February)

The single ‘Promises’ and the ‘Cry & Dance’ EP are available via the usual online platforms including https://athousandmadthings.bandcamp.com/

https://athousandmadthings.ffm.to/bio

https://www.facebook.com/profile.php?id=61574810537242

https://www.instagram.com/athousandmadthings/

https://www.tiktok.com/@athousandmadthings

https://www.youtube.com/channel/UCiH0XGmfKMWzM_VsizMgP8A

https://open.spotify.com/artist/7pcAieoVahaJkAvKzWG2xS

Text and Interview by Chi Ming Lai
26th January 2026

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