MUKI - Sad Daddy - YYY - Samuel S.C. - Eliza Hull - Sandhouse - This Is The Deep

MUKI - Trampoline (EP).

Melbourne/Naarm artist MUKI unveils his debut EP, 'Trampoline', out today Wednesday, June 3, a deeply personal collection exploring the emotional highs, lows and in-between moments of identity, anxiety, heartbreak and growth. Building on his introspective blend of indie acoustic pop-rock, the EP is honest and vulnerable, showcasing MUKI's thoughtful songwriting and understated arrangements.  

Since debuting earlier this year with singles 'Gasoline', 'Reflections' and 'Morning Music', MUKI has steadily shaped a sound defined by soft guitars, thoughtful lyricism and a powerful and passionate vocal delivery. 

Produced alongside Josh Barber, 'Trampoline' brings together the themes introduced across MUKI’s debut singles, reflecting on the ups and downs of life. Now joined by new track 'My Sweet Anxiety', a deeply personal reflection on the messiness and confusion that often comes with anxiety, the EP’s emotional themes are brought into fuller focus. Speaking on the EP, MUKI shares: “It’s about the strange joy tied to childhood, and the way a memory can hold both innocence and pain. The title came from a notion I couldn’t shake: ‘have you ever seen anyone sad on a trampoline?” 

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Photo - Perri Alexis Keyes

Sad Daddy - Bootlegger.

Arkansas roots outfit Sad Daddy has released “Bootlegger,” the latest from their forthcoming fourth studio album, Ozark Shine, due June 26, distributed by Free Dirt Records. The band will also embark on a regional tour to celebrate the album’s release, with stops planned in Little Rock, Nashville, and more. 
 
Recorded at Nashville’s Bomb Shelter studio, Ozark Shine captures Sad Daddy at full stride. The band, consisting of Joe Sundell (banjo, harmonica), Melissa Carper (upright bass), Rebecca Patek (fiddle), and Brian Martin (guitar, kazoo), each contributed vocals and their songwriting prowess to the album. The songs come from all corners of the band’s multiverse - some were born from writing sessions in Little Rock leading up to recording, some were longtime favorites finally making their way onto an album, and others were deeply personal solo compositions pulled from lives lived just a little outside the mainstream. The result is a collection that blends early blues, jazz, jug band, country, old-time, and bluegrass into something unmistakably Sad Daddy.

“I had a melody and a couple of verses for this song collecting dust in the archives of ideas for over a decade,” Martin, who wrote “Bootlegger,” shares. “After running it with the band, the direction the song needed to go sorta revealed itself and came together pretty quickly from that point.”

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YYY - Miserable.

“Miserable” marks the beginning of a new chapter for YYY, whose upcoming album draws on a distinctive constellation of influences — MGMT, Animal Collective, Tame Impala’s Lonerism, and the Mamas and the Papas — each refracted through his characteristically restless creative vision. True to the YYY sound, the single builds melodic hooks around droll lyrics, and an evolving, genre-fluid sonic identity that rewards close listening.

YYY is Austin Carson, a versatile and prolific Minneapolis/St. Paul-based songwriter and composer. He has spent years genre-hopping in the best possible way, scoring and contributing songs to numerous projects across a wide range of genres, work that has earned him three regional Emmy nominations for his contributions to PBS documentaries. Austin channels that creative energy into YYY, his experimental pop outlet defined by a commitment to sounds that haven’t quite been heard before. 

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Samuel S.C. - Mind Flies.

Samuel S.C. continues their monthly single rollout with "Mind Flies," marking the fifth release of the year and paving the way to a full-length release arriving late 2026. A breezy detour after the trio of fast paced bangers "Celestial," "Get Red," and "Push the Needle," "Mind Flies" traverses fuzzy hooks, sun-drenched harmonies and lyrical musings on memory and detachment. 

Samuel S.C. (FKA Samuel) continues to bridge the gap between ’90s indie-rock grit and timeless punk. Originally a cornerstone of drummer Eric Astor’s legendary Art Monk Construction label, the band reformed in 2021 with their DIY spirit firmly intact. Five years later, S.C. isn’t just maintaining momentum—They’re accelerating.

The group’s 2026 trajectory is defined by a prolific streak that finds the band continuing to evolve and hone its sound, one that refuses to fall neatly into any punk sub-genre. Their new single “Get Red,” is a shadowy ripper, on the heels of the propulsive “Push the Needle,” and the wistful “Another Good Lie,” all recorded and mixed in 2025 by J. Robbins (Jawbox, Burning Airlines) at his Baltimore studio, Magpie Cage. This follows a landmark year featuring a 10″ split release with Florida’s Pohgoh and standout performances at Fest (Gainesville) and the inaugural Several States Festival in Chicago.

The current lineup features original members Vanessa Downing (vocals), Eric Astor (drums), James Marinelli (guitar/vocals), and Dean Taormina (guitar), with Michael Honch (bass) rounding out the mix. With a new full-length album expected in late 2026 via Expert Work Records and Sweet Cheetah Records, the mission remains clear: Ain't no slowing down.

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Photo - Michelle Grace Hunder

Eliza Hull - Hotel Room.

Dja Dja Wurrung Country/Castlemaine based multi-award-winning songwriter, musician, advocate and writer Eliza Hull who received an O.A.M. last month for her contribution to music and disability advocacy, further cementing her reputation as one of so-called Australia's most important voices across both culture and accessibility, shares her first official new music in 3 years: 'Hotel Room', her "most unguarded" single yet, an utterly vulnerable and unapologetic-ally sensuous alt-pop self-excavation tracing Hull's emotional journey through womanhood while "feeling completely lost... moving toward midlife [and] becoming undone - questioning everything, wanting more, wanting less, changing shape in real time". 

Written during a personal breakdown while Hull was alone in a London hotel room, the song explores womanhood, identity, intimacy and emotional unravelling, landing alongside an equally intimate video directed by Keiran Watson-Bonnice (You Am I, ABC's And Then Something Changed) exploring sensual expression, her most liberating visual work yet. 'Hotel Room' marks a bold and emotionally expansive new era from one of the continent's most compelling artists.

Eliza Hull peels everything back on 'Hotel Room' to capture a private moment of complete unravelling with rawness and sensuality, exploring the "messy in-between place" she - like many women - feels moving toward midlife. Recorded at London's Knight Time Studios with producer James Knight (The Kooks, Feist, Ainslie Wills) and mixed by trusted collaborator ARIA Award-winning Pip Norman (Missy Higgins, Baker Boy), written during "a breakdown" in a London hotel room reflecting that quiet, tense space where there's nowhere left to hide from your thoughts and it all cracks open, the track spirals through self-reckoning through brutally honest lyrics that see Hull searching passionately for connection with a grounded version of herself after "feeling completely lost". 

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Photo - Hannah Murrell

Sandhouse - Pollyanna.

London duo Sandhouse today share new single 'Pollyanna', a glimpse into a forthcoming project due to be revealed over the coming months. Opening with glassy electronics before rupturing into distorted guitars and blown-out alt-rock catharsis, 'Pollyanna' pairs Anna Sutherland’s feather light vocals with lyrics that feel seductive and darkly playful - romantic fantasy gradually curdling into something more obsessive and difficult to control.

Speaking about the track, the band say: "'Pollyanna is about becoming numbed by the cinema of infatuation, and using the fairytale of romance to blindly ignore any signs of reality." Consisting of Anna Sutherland and Caspar Holloway, Sandhouse carve out a sound that folds together grunge guitars, bleary trip-hop production, warped psychedelia and nocturnal alt-pop.

Their 2025 debut EP 'Circus' - along with the two standalone singles that have followed - have been tipped by key press taste makers including The Line Of Best Fit, DIY Magazine, Dork Magazine, Under The Radar, Rolling Stone UK, The New Cue, and more. Radio support to date includes regular spins across BBC Radio 1, BBC 6 Music and BBC Introducing (where the band were named Track of the Week). Debut EP 'Circus' is fast approaching 4 million streams on Spotify alone.

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This Is The Deep - Darkness and the Dawn.

As their name suggests, This Is the Deep is a multi-faceted project in the pursuit of something subterranean, which they achieve by expanding their music into painted sets, animation, and theatrical storytelling to form a cohesive visual and sonic world. Now signing with 5dB (Mould, Martial Arts), the collective announce their forthcoming sophomore album Everything (September 9th). 

Led by the vibrant new single ‘Darkness and the Dawn’ (June 3rd), the band give a first taste of the upcoming full project, showcasing elegant avant-pop songcraft. Combining elements of alt-rock, orchestral-folk, chamber-pop, and psychedelic garage-rock, This Is The Deep traverses sprawling and colourful soundscapes, moving from moments of intimate reflection to joyous explosions of colour.

Formed by visual artist and musician Ranny (Ranald) Macdonald as a way to explore the space between music and art, the band’s members hail from across the UK, Brazil, and Japan. Their singular avant-pop sound bucks traditional genres and twins traditional songcraft in the vein of Burt Bacharach and Carole King with the experimental approach of artists like David Lynch and Aldous Harding. Through Phil Spector-like arrangements which blend: guitars, bass and drums with a cascading ensemble of horns, strings, percussion and synth, the 10-piece band create a singular and immersive world of sound and imagery.

The new single ‘Darkness and the Dawn’ offers a first taste of the full upcoming project Everything - a concept album which follows the subconscious journey of Richard (Dick) Herman, who, after dozing off at his desk one morning, is plunged into a series of dreams. 

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This Is The Deep - Laurence Murray Project - Roxanne de Bastion - Melby

This Is The Deep - The Best Is Yet To Come (Part 1 - EP).

East London 7-piece psych-pop collective This Is The Deep today release their debut EP 'The Best Is Yet To Come (Part 1)' - out now via B3SCI Records, with new track "Let Her Go" also out now.

Over the last two years This Is The Deep have quietly established a cult live following through support slots with HMLTD, PVA, and Family Time, as well as their own sold out cross-over events at venues such as Windmill Brixton, Moth Club and The Shacklewell Arms, combining immersive art and video installations with live performances from acts including Sinead O'Brien, Opus Kink and Baby Vanga.

Written, recorded and produced by the band at 'The Sauna' – their HQ in Hackney Wick – the EP is a wildly inventive introduction to the band. Across its 8 tracks, the band switch seamlessly between explorative psych-rock, glitchy art-pop and stomping indie rock.

What started out as late night recording sessions between flatmates Ranald Macdonald, David Bardon and Oscar Robertson - quickly spiralled into This Is The Deep’s carnivalesque troupe of seven musicians.

Drawing as much from artists such as Suicide, Death Grips, and the scores of Angelo Badalamenti (Twin Peaks, Blue Velvet) and Ennio Morricone, as from the glittery pop-disco of the Scissor Sisters, This Is The Deep weave together personal stories with wider ideas and anxieties about the times we’re living through - from the loss of ‘real’ experiences to the feeling of being constantly watched by technology.

"Ultimately, we want to transport the listener somewhere completely different with the music.  A landscape that can offer a different perspective on the real world or a just place to enjoy and escape from it," the band explain. "To us, The Best Is Yet To Come (Part 1) isn’t saying that everything is getting better. It’s about feeling that things today aren’t ‘The Best’ and although you can’t say exactly what it will look like, hoping that one day something better will come."

This Is The Deep consists of post-punk royalty Susie Honeyman (Mekons) on fiddle, Sammy Silue on guitar and vocals, Ranald Macdonald on synth and vocals, Hannah Tilson on trombone and vocals, David Bardon and Oscar Robertson on bass and drums, with electronic drums and percussion from Liam Toon.

This Is The Deep · The Best Is Yet To Come (Part 1)

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Laurence Murray Project - NPD.

Laurence Murray Project recorded their sophomore release ‘NPD’ at the UK’s most remote recording studio: Black Bay Studio on the Isle of Lewis, Outer Hebrides, Scotland. This setting helped create the sense of intrigue and mystery to this stunning psychedelic and rock infused single.

Featuring swirling twelve-string guitar parts, vibraphone and audacious drums reminiscent of late 60s and 70s Psychedelia, ‘NPD’ is both pleasing on the ear and edgy with Laurence Murray’s gritty vocal summoning smoky emotions. Lyrically, the track involves a dark take on themes of deceit, infidelity and delusion, whilst adventurous instrumentation and percussion parts create an apt musical backdrop for an exploration of the complications and intricacies involved in a modern-day romantic relationship.

On the single, Murray explains, ‘“NPD” is ultimately a track about duplicity and how we are all susceptible to manipulation at any given time. It’s about having a light bulb moment where many seemingly small & insignificant red flag moments come together at once to create a much larger picture.’

“The lights are on and the room is empty” is the sudden realisation of being duped all along. The screaming guitar solo and outro section of the track acts as a symbolic release from being controlled and abused. It is a ‘shackles are off and now it’s time to heal’ symbolic moment of Laurence Murray Project’s debut 11-track album ‘Still’, set to be released in mid-late 2021.

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Roxanne de Bastion - Molecules

Rising singer-songwriter Roxanne de Bastion announces the release of her cathartic second album ‘You & Me, We Are The Same’. The ten songs were written by Roxanne, then recorded and produced with Bernard Butler, during the two-year period Roxanne was losing her father. However, ‘You & Me, We Are The Same’ is not a sad album. It has moments of euphoria, of fun, of falling in love, as well as falling apart, because as Roxanne explains “all those things still happen, even in our darkest chapters.”

As producer Bernard Butler explains “Roxanne sings great modern pop songs about being Roxanne in 2019. I really enjoyed making this album, I think we created something emotional and special.”

New single ‘Molecules’ is a slice of hypnotic, invigorating and intelligent dark-pop fusing elements of psych, folk, and a love of late 60s production, with Roxanne’s sound taking inspiration from artists like The Beatles through to Regina Spektor. Roxanne’s pure vocal is both contrasted and complemented by the screaming violins and vigorous guitar riffs, the latter, alongside the video’s stylised black and red silhouetted imagery, a nod to The White Stripes’ influence. The track’s drum sound is actually clapping and Roxanne hitting things like tambourines and floor toms in Bernard’s living room.

Lyrically, ‘Molecules’ raises some divine questions in its refrain “You can shout at molecules and see them react…that might be God, they might have mislabelled that.” As Roxanne explains “What if we got it wrong? If there is such a thing as divinity, maybe it’s more on a modular level.”

To celebrate the album’s release, Roxanne de Bastion has announced she’ll return to the Moth Club, London on 12th October, with full band and live audience. The show marks a year since Roxanne’s virtual gig at the venue during the start of the pandemic, which was broadcast worldwide and recorded for her 10” vinyl ‘Live at Moth Club’ EP.

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Melby - Concorde

Stockholm four-piece Melby have constantly been growing since their debut with catchy single 'Human' in 2016. In 2019, the band released their acclaimed debut record 'None of this makes me worry' which was followed by tour dates all over Europe. During the pandemic in 2020, the band have worked on new material in a new way. From these sessions, we've previously heard the prog/psych inspired 'Common Sense', the dreamy but melancholic 'Old Life', 'Somewhere New', a dynamic track inspired by classical counterpoint composition and the indie pop gem 'Magic'.

New single 'Concorde' is another taste of the band's dynamic indie pop, psych and folk blend that continues to win them fans with every release and step they take. 'Concorde' might just be their smoothest track to date, as they in their own way resemble contemporaries like TOPS, Tennis and more.

Melby tells us about the new single: "Concorde is a song about the luxury that is always dependent on other people."

On 'Concorde', Melby continues to cement their role as one of the most interesting Scandinavian acts around, a band so home and accomplished within their sound that they're now ready to continue to experiment with it without losing their characteristic. The new material was mainly written and straight-away recorded in the studio in close collaboration with producer Alexander Eldefors, this is a completely new way for a band that previously in many cases have toured material for years before recording them.

The band often gets compared to fellow Swedes Dungen and Amason but Melby’s dynamic sound, with influences from folk, psych, indie and pop, stand out. The quartet's light, semi-psychedelic folk pop is led by Matilda Wiezell’s enchanting voice which fits perfectly with Melby’s unique musical landscape - a sound that's been called "otherworldly, and wholly brilliant" by The Line of Best Fit.

The band consists of Wiezell, Are Engen Steinsholm (back-up vocals, guitar), David Jehrlander (bass) and Teo Jernkvist (drums) and formed while living together in a Stockholm shared housing.

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SLUGS - Gunke - Gawain and the Green Knight - Shannon Dooks - This Is The Deep

SLUGS - I Could Do Better.

SLUGS is a four-piece alt-rock outfit out of Los Angeles comprised of singer/songwriter/guitarist Marissa Longstreet, Sarsten Noice (bass/vocals), Josh Beavers (lead guitar) and Dash Hutton (drums). Their influences range from Linda Perhacs with their melodic harmonies and tenderness to Thee Oh Sees with their high energy, spitfire performances.

SLUGS latest tune “I Could Do Better” got its title after enduring a flight from a poor choice of airline when the idea of I could do better humorously arose. Later working with a friend the song was written and developed at a time when exploring the journey of sobriety, where the lyrics took a deeper dive into the meaning. The song narrates wanting to find a way back to the blissful naivety of being a child, as well as the wonderful and complicated revelations and the highs and lows during the process of grounding. Longstreet shares, “I compared my carefree attitude as a child, finger painting an image of nothing, to the “I don’t care” attitude of my 20’s. I wrote this song as if it were an intervention on myself, and I was playing both sides. I wanted to find my way back to carefree innocence coming from a place of sinister repetition and complacency.”

“I Could Do Better” emits a reflective and experimental sonic appeal through its trippy, psychedelic feel. Somewhat woozy and chill, the song has subtle peaks and falls with wavering vocal melodies that metaphorically pronounce the verified range of emotions. Through jingling high-hats, rocking, rich electric riffs, twangy guitars and a range of percussion that has a softer, tropical sound, “I Could Do Better” is truly transcending. The vocals are soft and restrained, yet clear and powerful, adding to the juxtaposition of the feelings around the journey of going sober. Longstreet explains, “I think the theme is a voyage of floating in space, the big chaotic crash down and every small step after in getting grounded.”

SLUGS have been on tours with LP & The Districts and have opened for Jessica Lea Mayfield, Joywave, Lets Eat Grandma & The Mattson II. Having garnered acclaim from the likes of Refinery29, Live Nation’s Ones to Watch, American Songwriter and Earmilk, SLUGS are certainly an artist to watch in 2021.

SLUGS · I Could Do Better

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Gunke - Football.

‘Football’ is the raw, explosive second single from Glasgow based solo artist Gunke that discusses the anxieties of not fitting channelling that into a churning slice of head nodding energy and a chant along chorus that will resonate with so many that have felt socially outcast ("Football? Softball? I don't know the difference”).

It’s a passionate piece of punk fuelled indie rock that vibes on abrasive 90s alt-rock and early 00's guitar band sounds, creating a powerful energetic tone to counteract the disparate isolation behind the lyrics.

Gunke is the solo creative efforts of Luc Grindle (Dutch Wine, HEYUP, Moonsoup), which aims to bring out the brighter, more optimistic side of punk rock.

Taking strong influence from the likes of The Cribs, Yuck and early Bombay Bicycle Club hits, this is one sure to be left humming their tunes for days to come.

“‘Football' took a long time to mature as a song; four years of recordings in fact!

“I didn't really engage in sports growing up, so often felt out of my depth when conversing with friends who would talk about last night's game or whatever; I made the chorus with football chants in mind as way to a kind of counteract that notion.

“I took a lot of inspiration from The Cribs during the writing process, a lot of their fans are football lads, despite the band having no interest in the sport, I found that quite fitting to pay some kind of homage to.”

‘Football’ was written by Luc Grindle, Melissa Brisbane and Jack Boyle. Performed, recorded and mastered by Luc Grindle. Mixed by Melissa Brisbane. Video was filmed by Christopher Devine. Edited by Luc Grindle.

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Gawain and the Green Knight - In My Dreams, a Perfect Chair.

With the release of “In My Dreams, a Perfect Chair,” Gawain and the Green Knight announce their upcoming EP, A Sleeping Place, out June 11, 2021. The new single exemplifies the duo’s “literary folk” stylings, filled with allegory and inspired by mythology, or, as they put it, “folk for people who like to listen to music while pacing mournfully yet poignantly through the streets, pretending they’re the protagonist in a very beautiful film.” Listen HERE.

“In My Dreams, a Perfect Chair” offers a deep dive on insecurities, centering around a woodworker’s apprentice who feels inadequate because they can’t make anything good enough. Vocalist/guitarist, Alexia Antoniou, wrote the song as a metaphor for her own writer’s block, and multi-instrumentalist bandmate, Mike O’Malley, and the EP’s drummer, Derek Swink, created woodshop inspired sounds to immerse the listener in the story, mimicking sandpaper and hammers. “It’s strange to think of artists in the past being full of doubt, anxiety, self-loathing. Because the art remains but the process is so rarely documented,” Antoniou observes. “But of course, those emotions had to be all tangled in the artistic process, no matter what time we’re talking about… right? I think anyone who has ever sat down to make a thing can relate.”

Partners in life as well as in music, Antoniou and O’Malley were due to be married in the fall of 2020. Like everyone, their plans were waylaid by the COVID-19 pandemic. Finding themselves isolated, surrounded by insecurity and fear, they felt an urgent need to capture these songs that felt of the moment. “Even before all of last year happened, the fact of our own mortality always felt present, impossible to get away from, really. I think there must be something biologically in human brains that tries to make you forget it so you can function, and the part of you that remembers your mortality and the part that makes you forget are always going at one another,” says Antoniou.

Inspired by the etymology of the Greek word for cemetery, which simply means “a sleeping place,” the duo created a collection of songs that sits comfortably in the deep, sometimes dark, parts of the subconscious, arranged in such a way that you remember why life can be so joyful in the first place, its tempo anything but sad. “I think of this EP as a love letter, full of desperate affection, to anyone who has ever been alive and been scared to die,” Antoniou continues. “Death is loud, but it doesn’t mean you were never heard.”

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Shannon Dooks - Doubts.

Ahead of the release of her new album, Do It Again, Shannon Dooks, lends her supple voice to its earnest and heartfelt lead single, “Doubts” — available now!

When a once-thriving connection turns dubious, acknowledging the signs can be a tough experience — and “Doubts” says it all. Everything from the innocent piano intro to the mellow rhythm sections that follow, the arrangements send the notion of a fond farewell wrapped in a melodic package.

The message within is signed, sealed and delivered by Shannon Dooks’s harmonious and smooth vocal style. As light as the single sounds, the weight within the lyrics denotes a tipping point in a crumbling relationship. According to the Toronto-based artist, “it’s that feeling of constantly putting in effort into the relationship and each broken promise is that much more devastating as it goes on and then you finally reach a breaking point.”

The introductory lyrics in the first verse of “Doubts” perfectly summarizes the singer’s insight: “Don't write, don't text, don’t call, don't do anything at all.” Further reinforcing the message are the closing lyrics of the first verse: “You tell me go, you tell me stay, you tell me leave, but don't tell me what I should believe.”

While Shannon Dooks is known for writing her own songs, “Doubts” was penned by Toronto-based internationally-renowned songwriter, Rosanne Baker Thornley. The single was intended to be a submission for film and television spots, however the voice of Shannon Dooks was found to be a perfect vessel for the tone of the single.

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This Is The Deep - Glass.

East London 7-piece psych pop collective This Is The Deep have released their new single "Glass", along with the announcement of their debut EP 'The Best Is Yet To Come (Part 1)' - out May 21st via B3SCI Records.

Over the last two years This Is The Deep have quietly established a cult live following through support slots with HMLTD, PVA, and Family Time, as well as their own sold out cross-over events at venues such as Windmill Brixton, Moth Club and The Shacklewell Arms, combining immersive art and video installations with live performances from acts including Sinead O'Brien, Opus Kink and Baby Vanga.

Debut EP 'The Best Is Yet To Come (Part 1)' out May 21st is a stunning 7-track introduction, with new single "Glass" an inarguably captivating invitation into This Is The Deep's mysterious world. Utilising a sample of a dramatic reading of Humpty Dumpty, the track brings together a cacophony of horns, pounding drums and squelching synths - all written, recorded and produced by the band at 'The Sauna', their HQ in Hackney Wick.

Speaking on the themes at play on "Glass", the band said: "The song is about the idea of falling and the feeling of something foreboding happening as the result of over-reaching. There are different ways to interpret the lyrics; they can apply to the excesses of late capitalism, our unbalanced position with the natural world, as well as a relationship between two people.The focus on falling and impact could also be seen to be a metaphor for a human position of being in some way always falling towards something, some conclusion or unknown destination. Maybe ultimately the fall is part of what we are, as Buzz Lightyear says maybe we're not flying but ‘falling with style’."

The track's engrossing video was directed and animated by the band themselves, and follows a muscled action-man in a dystopian CGI city who gets sucked into another world through his TV.

"It's kind of a retelling of Humpty Dumpty but instead of an egg there's this bald muscly action-man figure and instead of falling and cracking he gets sucked into another world through his TV", the band nonchalantly explain, going on to say..."He falls into a plasticine Loony-Toons inspired landscape haunted by a mysterious cowboy with pop-corn eyes where pop-corn clouds hang in the sky. We're interested in working with the tropes of visual media and popular culture and how they affect the way we perceive and ultimately construct the world. David Greaber's quote that 'The ultimate hidden truth of the world is it is something we make and could just as easily make differently sums this up for us pretty well."

What started out as late night recording sessions between flatmates Ranald Macdonald, David Bardon and Oscar Robertson - quickly spiralled into This Is The Deep’s carnivalesque troupe of seven musicians. Drawing as much from artists such as Suicide, Death Grips, and the scores of David Lynch and Ennio Morricone, as from the glittery pop-disco of the Scissor Sisters, This Is The Deep consists of post-punk royalty Susie Honeyman (Mekons) on fiddle, Sammy Silue on guitar and vocals, Ranald Macdonald on synth and vocals, Hannah Tilson on trombone and vocals, David Bardon and Oscar Robertson on bass and drums, with electronic drums and percussion from Liam Toon.

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