Back to Top

A piece from Tom about History Is Made At Night.

This is probably one of our tracks that’s often overlooked, but one of those that I’m most proud of and loved working on. I think it came about from being fans of true (and what they used to call it at the time) ‘minimal techno’ that forged beautiful melancholic melodies with hyper intricate drumming. We were listening to lots of Ricardo Villalobos, Thomas Brinkmann and Alex Smoke, as well as electronic artists like Claro Intelecto, Basic Channel and Murcof. I think a pivotal track for us at this time was ‘Father' by Thomas Melchior & Luciano, in particular the melody they put on it, and you can hear its influence on our stuff.

We wanted to make something that would sound warm and human, yet have all the cold and stark traits of this minimal electronic music that we loved so much. ‘History Is Made At Night’ came about towards the end of recording ‘Arrivals’, and I think we nailed it in pretty much one sitting. Gavin had this awesome percussion loop and that weaving chime-like melody, and I basically made a huge build up around it with a drone that comes in half way, which was made from adding layers of reverb to another drum loop we had. It’s one of those tracks that made itself (no pun intended) with no real effort. We never played it live as our live set was always quite intense, but it’s a track that has a firm home on the album.

It’s a track that gives a true representation of were we were as music fans at the time.

T x

To celebrate the fact that we have a new album on the way, and to tide you over until we release details about how that album is going to happen, we’ve made our last two releases - ‘I’m Not / The Next Round' and 'EP1 (Remastered)' pay-what-you-like until Monday! Go grab em from our bandcamp whilst you can!

g x

We have a new album.

We’ve finally finished a new record, and the first since 2009’s ‘Arrivals’. We’ll be putting it out soon (hopefully), and will give you more details on just how that’s happening very soon (very hopefully).

The worriedaboutsatan merch desk in a bar in Reykjavík, Iceland - May 2008. We played two gigs there, just after we toured the UK with our friends Maybeshewill.

The worriedaboutsatan merch desk in a bar in Reykjavík, Iceland - May 2008. We played two gigs there, just after we toured the UK with our friends Maybeshewill.

Another worriedaboutsatan history lesson.

It wasn’t really my intention to do these little pieces about our songs in chronological order, but that’s just the way it’s worked out I suppose, so thought I’d share a bit on ‘I’m Not / The Next Round’, our most recent single, and first in four years.

If you’ve read anything about these two tracks, then well done for starters, as we barely did any promotion for it, but also you might know already that these two were sat on my laptop for a hell of a long time. In fact I remember being in Oxford for a few days in summer 2011, as we were staying with our buddy Russell.M.Harmon for a long weekend, sat around showing him the demos as they were. “Yeah, we’re hoping to put them out soon” we’d said. Optimistic as usual!

The initial demos came hot on the heels of the first Ghosting Season EP, but with the idea being that they were expressly for worriedaboutsatan, not GS. Around the same time, we’d had some ‘industry experts’ tell us that worriedaboutsatan wasn’t worth keeping, and we should just amalgamate the two bands to save confusing everyone as to which band was doing what. We argued that with careful planning and making sure one release didn’t stomp all over another one, you could avoid all that confusion by just telling people that one band did one type of music, and the other one did something a bit different - not exactly a new thing to do, especially in electronic music.

So for a long time, these demos sat on a hard drive, and we didn’t know what to do with them. We were busy with Ghosting Season anyway, so couldn’t actually find the time to finish the tracks in a satisfactory manner either.

There were a whole slew of demos around this time, all harking back to the Arrivals style of reverby, ghostly techno with post rock guitars and weird samples. We’d heard people like Andy Stott and Holy Other do similar things, and there were certainly times where we thought “Fuck! That’s what we used to do!” so we knew we had worriedaboutsatan tracks - they were too slow and weird for Ghosting Season, but we didn’t know what the future held for ‘satan and everything that came with it.

Then, the ‘industry experts’ buggered off and left us to it. Which we were a bit shocked by at first, but then realised we were kinda free to do anything we wanted, so we started by resurrecting our label, This Is It Forever, then we both started making solo records, then we decided to finally open those ‘satan demos again.

The whole thing from start to finish took about one full day. We wanted these to sound different to Ghosting Season, so we adopted other ways of working - we didn’t think too much, we went with the flow on a lot of it, and decided on the fly what to keep and what to put where. We recorded a few old synths and added some drum machine parts from Tom’s 808, and we were done. It felt good to keep it so easy and free, so we decided to release it like that too - one morning, we just put it out there. The first thing in four years. And it sold out with minimal press coverage, so we have you guys to thank for that, and for sticking with us for so long!

g x

This just popped on my iTunes shuffle and reminded me of the time we did this remix for the awesome Vessels.

Our remix for Lucy Claire is out now, released on our own This Is It Forever label.

Here’s a remix we did of our good friend Lucy Claire.

Her EP is out on Monday, but you can listen to all of it by clicking here, and we very strongly advise you do.

Continuing the journey through our past, we arrive at Heart Monitor. This is one of my favourite tracks of ours, as it’s such a pretty little thing.

It was written around the time of the first Ghosting Season record, but as the rest of that album wasn’t quite there yet, and we really wanted to put something out to promote a tour we’d been asked to do by our friends Her name is Calla, we decided to work on a demo we had kicking around the demos folder. We asked our buddies her.eyes.like_static (now making music as Russell.M.Harmon) and Dalot for remixes to go with it too, to get a fresh perspective on it all, and as they’re both awesome as well.

It’s funny, because Heart Monitor almost signaled a return to the more electronica sound we’d been doing on EP02, as it’s all dreamy atmospheres and broken kick drums. At the same time though, we were still very much in love with the reverby techno thing we’d done on Arrivals, and would continue into Ghosting Season.

It was originally in 6/8 for some daft reason, and had about a million different post rock guitar parts, despite it being quite a gentle song, so between me and Tom, we stripped it back and focused on the little piano figure and the organ sound, which was just an Ableton preset swamped in reverb and distortion.

I penned some lyrics about my girlfriend to go with it, but the only ones that weren’t totally cringeworthy were the ones that made it - “give me your heavy heart”. It was a nice sounding refrain, so we kept it as the only line in the song, and got our very good friend and frequent collaborator Gregory Hoepffner to sing it. We’d known Greg for a little while, as he’d been a fan of satan, and we liked his bands too (at one point he was in about 94 bands - all of them amazing) so we asked him to remix something off Arrivals (which he did) and then asked him if he’d mind singing on Heart Monitor. Which he did.

We bookended the main track with two others that did a really nice job giving Heart Monitor a sense of space and purpose. We didn’t want it to just be “hey, here’s a song we did!” so ‘Eyes Closed’ set the scene, and ‘Respirator’ acted as a prologue to this little world we’d created.

And that was that. We packaged it up in pretty sweet handmade packaging, which we were dying to do after being told we couldn’t do it for Arrivals (which is a whole other story I’m not getting into here) and sold it around Europe with Calla. It would be the last worriedaboutsatan release for four years.

The song’s legacy continued when we made Arrhythmia as Ghosting Season last year. That song was born from a demo comprised of some of those offcuts of guitar lines I mentioned earlier, and if you listen closely at the end, you can hear the piano riff from Heart Monitor coming back in, as a sort of call back to the tune which birthed it. And, of course, in keeping with our random tradition of connecting things together, Arrhythmia means an unsteady heart beat, so perhaps a Heart Monitor might be in order…

Perfect for a Sunday morning… Alfred Hitchcock on Desert Island Discs, just before he made Psycho.