Want to know more about the band's acerbic new EP? Well, here you go - the trio let us in on some stories from the studio.

We worked on the record alongside producer Jamie Hall (Tigercub). Before working together, we'd always had the idea that "less is more" when it came to recording. However, Jamie has a different philosophy, "More is more", and if you'd seen the number of microphones used on the drum kit, you'd understand that he wasn't joking!

The studio toilet featured a signed and framed photograph of Danny Dyer sitting above the cistern. So, every time we needed to head to the bathroom, we would hold communion with the spirit of Danny Dyer, and we like to think the recordings had his blessing.

With an eclectic mix of songs on the EP, we wanted to find some motifs and sonic themes to tie them all together and connect them. We liked the idea of a nostalgic feel to the EP, and you'll hear a lot of callbacks to the late 90s/early 00s with inspiration from Gorillaz and The Prodigy. One slightly less obvious call back is to 1995, 'Gangsta's Paradise' by Coolio. We loved the synth/choir BV sound and wanted to tie it in and you'll hear those almost hymnal synths scattered throughout the EP. It really has such a nostalgic feel and reminds us of better days…

After a long studio day, we spent the early hours from midnight onwards exploring some synths and electronic sounds. By 2am, full delirium had hit, and someone suggested, "Let's just put a donk on it!"… Safe to say, by the time we arrived the next day and had returned to our senses, the donks were swiftly removed.

For the track 'King', we loved the synth on the original demo we had before coming into the studio. We tried for hours to find a synth sound we preferred. After a lot of trial and error, we made the collective decision to just stick with the original demo synth. Sometimes, the simplest solution is the best one!

For 'Sink or Swim', we still didn't have the chorus completely finished despite several melodic ideas. It wasn't until we were recording vocals and in the booth that we came up with the perfect chorus. We knew we wanted that Keith Flint from The Prodigy style vocal that would come in on the '1' with the riff. However, once in the zone, almost immediately the lyrics were just thrown out there in the vocal booth in a freestyle fashion that we found what we wanted. There was unanimous agreement and excitement. It's moments of spontaneity like that, that make records exciting for us.