Posted in Whathaveyou on July 24th, 2026 by JJ Koczan
Part of the original stated mission Bill and Marty Fisher (both of Church of the Cosmic Skull, Dystopian Future Movies, ex-Mammothwing, etc.) and the reason they called their brotherly duo Massive Hassle was that that was what they didn’t want the band to become. Given the implications of the title of their third album, Plotgone — out Aug. 14 through Septaphonic Records — I can’t help but wonder if that still applies or if, perhaps, that’s at least part of the plot that’s been lost.
No idea, but the opening track/first single is the seven-minute “Extra Ordinary,” and it’s about as much of a ‘gazer of a riff as I’ve heard from the Fishers in any band context. Two-part harmonies top the fluid nod, and while “Extra Ordinary” doesn’t represent every turn Plotgone makes, it’s a satisfyingly immersive beginning to the 39-minute LP, which, again, is out in just a couple weeks, following on from 2024’s Unreal Damage (review here).
The song is at the bottom of the post, brought hence from the PR wire:
MASSIVE HASSLE Announce Third Album
The third MASSIVE HASSLE album ‘PLOTGONE’ comes out 14th August on Septaphonic Records.
The brothers Fisher have been to the edge of sanity itself and back a number of times to bring you 7 tracks of woe, scrapes, and anthropology, with their signature sound combining fuzz-rock, psych-jazz explorations, blues-fuelled sludge, and country harmonies – think Ty Segall meets ZZ Top meets Mountain with occasional hints of Skynyrd and Mahavishnu.
Sounding tighter than ever and full of heart, with several music videos on the way, PLOTGONE charts the losing of the plot, until the plot is gone, but will it return?
Massive Hassle is a two-piece rock band from Nottingham England, featuring brothers Bill & Marty Fisher (Mammothwing, Church of the Cosmic Skull, Dystopian Future Movies and many more), combining fuzz-rock, soul, doom-metal, jazz, blues, country, and more with meticulous two-part vocal harmony.
If I ran one of those big corporate festivals like Riot Fest or Coachella or somesuch, I would pay Uncle Acid and the Deadbeats whatever it took to cover the entirety of Diary of a Madman onstage for a special set. What could be more fitting than to have them take on Ozzy Osbourne‘s 1981 second album, with its killer hooks and weird melodies? They absolutely nail “Believer” while also succeeding in making it their own. Imagine them doing the same with “Tonight” or slowing down “Over the Mountain” or adding a layer of psychological threat to “Flying High Again,” digging into the title-track, and so on. I don’t run one of those fests, or any fests, and I can’t make that happen, but hearing them cover “Believer,” which they posted yesterday in honor of one year since Ozzy‘s passing, it’s fun to dream.
Earlier this week, Uncle Acid put forth the details of their upcoming album, Shapes of Midnight, which is out Sept. 18 on their own Killer Candy Records. The UK outfit have tours lined up to support in the US (with Messa, no less; good tour) and the UK that will carry them from before the release through the end of November, and likely 2027 will bring more to follow from their summer/festival tour on continental Europe — unless that’s already been announced and I’ve missed it — and elsewhere. I was lucky enough to see the headlining at Freak Valley Festival 2026 (review here), and as always they were a grim joy, their melodic take all the more fleshed out with new-ish keyboardist/vocalist Rachel Burnett complementing founding bandleader Kevin R. Starrs and fellow guitarist/vocalist George Hudson. Any day you can see them play is a win, which is to say I hope to hit the tour when they come through.
If you missed the album announcement — no, you didn’t; I know — it’s linked above and the title-track of Shapes of Midnight and the prior single “Don’t Let it Control You” are both under the tour dates below, so if you’re feeling “Believer” and want more of the band’s recent grit, it’s there to be had. I’d have posted this yesterday but for technical difficulties with the site, which is always a brainmelter, but I don’t think a track that, like me, came out in Oct. ’81 — there’s a joke about sore knees here that I don’t even want to make — minds the delay. It’s not like it kicks less ass Thursday than it did Wednesday.
Please enjoy:
Uncle Acid and the Deadbeats, “Believer” (Ozzy Osbourne cover)
R.I.P. OZZY
—
Uncle Acid and the Deadbeats US Tour w/ Messa 09/08 — Charlotte, NC — Neighborhood Theatre 09/09 — Atlanta, GA — The Masquerade 09/10 — Nashville, TN — Brooklyn Bowl 09/12 — Dallas, TX — Studio at The Bomb Factory 09/13 — Austin, TX — Levitation Festival 09/15 — Albuquerque, NM — Sunshine Theatre 09/16 — Tucson, AZ — La Rosa 09/18 — Las Vegas, NV — The Portal at Area 15 09/19 — San Diego, CA — Observatory North Park 09/20 — Los Angeles, CA — The Bellwether 09/21 — San Francisco, CA — Regency Ballroom 09/24 — Boise, ID — Knitting Factory 09/25 — Portland, OR — Roseland Theater 09/26 — Seattle, WA — The Showbox 09/29 — Salt Lake City, UT — The Complex 09/30 — Denver, CO — Gothic Theatre 10/02 — Minneapolis, MN — Varsity Theater 10/03 — Omaha, NE — Slowdown 10/04 — Chicago, IL — Concord Music Hall 10/06 — Toronto, ON — Danforth Music Hall 10/07 — Montreal, QC — Théâtre Beanfield 10/08 — Worcester, MA — The Palladium 10/09 — Baltimore, MD — Nevermore Hall 10/11 — New York, NY — Irving Plaza
UK DATES: 11/19 — Wolverhampton, UK — KK’s Steel Mill 11/20 — Manchester, UK — New Century Hall 11/21 — Glasgow, UK — The Garage 11/22 — Leeds, UK — Brudenell 11/24 — Bristol, UK — Trinity 11/25 — Southampton, UK — Engine Rooms 11/27 — Brighton, UK — Concorde 2 11/28 — Norwich, UK — Waterfront 11/29 — Nottingham, UK — Rescue Rooms
UNCLE ACID AND THE DEADBEATS ARE: Kevin Starrs — Vocals/Lead Guitar George Hudson — Rhythm Guitar/Vocals Jus Smith — Bass Jon Rice —Drums Rachel Burnett — Keys/Vocals
Uncle Acid and the Deadbeats, “Shapes of Midnight”
Uncle Acid and the Deadbeats, “Don’t Let it Control You” official video
Posted in Whathaveyou on July 20th, 2026 by JJ Koczan
Something tells me Uncle Acid and the Deadbeats are playing coy a bit when they use a phrase like, “recorded at Abbey Road with some old Neumanns and EMI equipment,” but maybe that’s just my brain thinking every piece of gear in that place must be legendary for one reason or another, if not made that way specifically by The Beatles. Wherever it was made, the streaming-now title-track of Shapes of Midnight — due Sept. 18 on the band’s own Killer Candy Records — bears the band’s signature grainy sound, warm and threatening all at once. It’s got a shuffle of a riff to follow on from the single “Don’t Let it Control” that was released earlier this year to herald their summer tour that finished earlier this month, and the album release will preface a UK run in November. See how everything ties together? Pro-shop.
Looking forward to digging into new Uncle Acid, both as they pivot back to more traditional songcraft following the successful imaginary soundtrack Nell’ Ora Blu (review here) in 2024 and just in general as a fan of the band. Their announcement was quick and dirty on socials (first paragraph below) and I paired it with their latest bio and tour dates, though if a proper for-the-LP press release comes in today I might replace all of it with that, so heads up to the absolutely no one who cares when I do that kind of thing [EDIT: Yes, I did, but I left the “recorded at…” there as well.
Good fun:
Uncle Acid – Shapes of Midnight – Sept. 18, 2026
WARNING: Our new album Shapes Of Midnight is out Sep 18. It was recorded at Abbey Road with some old Neumanns and EMI equipment. Listen on your telephones to the title track at our bandcamp (see bio). Vinyl pre order later today atkillercandyrecords.com.
—
Two years on from the mesmeric Nell’ Ora Blu, their synth-laden soundtrack for an imaginary Giallo movie, orphic Cambridge heavies Uncle Acid & The Deadbeats return with their seventh full-length, Shapes Of Midnight. A brilliantly macabre concept album partly inspired by Edgar Allen Poe’s The Masque Of The Red Death and the too-real nightmares of our modern age, Shapes Of Midnight refines the group’s “Evil Beatles” sound: A thrilling, expertly composed fusion of eerie harmonies, pop hooks, Thin Lizzy-esque twin-guitar brilliance, and the kind of fleet-footed heaviness that’s become their trademark.
Shapes Of Midnight was tracked at Abbey Road Studios — live to analogue tape, natch — in a blessed, three-day blitz in the company of storied engineer Chris Bolster, whose previous clients include Phil Spector, Ozzy Osbourne, and Paul McCartney. The band employed era-appropriate tech, from antique Neumann mics once breathed upon by the Fabs and the Floyd, to consoles and compressors from the peak era of recorded sound. The mastering, meanwhile, was completed by Grammy-nominated engineer Noel Summerville (The White Stripes, The Clash, My Bloody Valentine).
The album marks a return to the guitar-forward attack of their earlier records, but also an evolution. Their blessed invocation of proto-metal heaviness is gilded by blasts of uncanny melancholic pop, bruising NWOBHM gallop, jazzy textures and complexities, and Krautrock-y cro-magnon synth damage. It’s a deliciously dark listen, for sure; as songwriter Kevin Starrs says, “Our albums exist in an alternate universe to our own. They’re all stories that could happen here, but everything’s just a bit ‘off.’”
Uncle Acid & The Deadbeats spent their summer laying waste to festivals such as Sweden Rock, Hellfest, and Graspop and will tour North America, the UK, and Australia/New Zealand later this year. Further dates across Europe for next year to be announced soon.
SHAPES OF MIDNIGHT TRACKLISTING: “House by the Grave” “Shapes of Midnight” “When Evil Wakes” “Don’t Let It Control You” “Psycho on the Loose” “I Won’t Sleep (’til You’re Gone)” “The Other Side of the Sky” “Sleep No More”
UK DATES: 11/19 — Wolverhampton, UK — KK’s Steel Mill 11/20 — Manchester, UK — New Century Hall 11/21 — Glasgow, UK — The Garage 11/22 — Leeds, UK — Brudenell 11/24 — Bristol, UK — Trinity 11/25 — Southampton, UK — Engine Rooms 11/27 — Brighton, UK — Concorde 2 11/28 — Norwich, UK — Waterfront 11/29 — Nottingham, UK — Rescue Rooms
UNCLE ACID AND THE DEADBEATS ARE: Kevin Starrs — Vocals/Lead Guitar George Hudson — Rhythm Guitar/Vocals Jus Smith — Bass Jon Rice —Drums Rachel Burnett — Keys/Vocals
Posted in Whathaveyou on July 16th, 2026 by JJ Koczan
“Psychic Tension” is both the title-track and the first single from Dead Sea Apes‘ impending full-length. Set to release Sept. 18 through Feeding Tube Records and Cardinal Fuzz, the album follows 2023’s Rewilding, though the band also had a collaborative self-titled out under the moniker of Celestial Power earlier this year, so I’m honestly not sure what counts for what. The point, I suppose, is that the single is at the bottom of this post. If you’re feeling overwhelmed — as one might be midweek — my advice to you is get those earbuds in, go someplace you can be alone if you can and it’s safe, and then blast yourself with it. Volume as physical catharsis for in-brain relief. If you’re driving, you might just hit a tree.
The PR wire put it as follows:
Dead Sea Apes Announce New Album ‘Psychic Tension’
Immersive Title Track Unveiled
Manchester’s heavy psych cosmonauts Dead Sea Apes return on the 18th September 2026 with their new album, Psychic Tension. A sprawling cosmic journey, the record arrives via a transatlantic partnership between Cardinal Fuzz and Feeding Tube Records.
Artist: Dead Sea Apes Title: Psychic Tension Label: Cardinal Fuzz / Feeding Tube Records Release Date: 18 September 2026 Format: Vinyl / CD / DL
Dead Sea Apes are back with a fierce new album Psychic Tension – an urgent soundtrack for the nerve-shredding times we live in. Our collective psyche is under attack, reeling from the chaos of a modern world under siege: from war, death, destruction and climate catastrophe to political decay, media manipulation, growing inequality and the rank depravity of the so-called elite. Do we overload ourselves with anxiety, vent our frustration at others, make token gestures to ease our conscience, or just try to carry on regardless? Dead Sea Apes have wrestled these dilemmas – this Psychic Tension – into sonic/musical form, creating catharsis from the chaos.
Psychic Tension picks up where the previous album Rewilding left off, carrying forward the momentum of massive riffs, juggernaut rhythms and squalling sonic overload. Noise-rock, Japanese psych, minimal dub and Electric-era Miles are all part of the mix: each member of Dead Sea Apes brings decades of musical exploration to bear on the music. The iterative repetition of Can meets the telepathic mind-meld of the power trio; the deceptive simplicity of Crazy Horse is pulled through the sonics of PSF Records; the live-in-the-practice-room energy is bolstered by layered landscapes of sound – from ethereal echoes to feedback drones to transistor-torturing lead lines.
Dead Sea Apes have always followed their own path, the music instinctively wired into the world around them. On Psychic Tension, they have once again cooked up a sound that is wholly their own, speaking directly to the turmoil within us and surrounding us in these wild times.
Psychic Tension Tracklist: 01. Damn Your Eyes 02. Psychic Tension 03. Severance 04. Ursa Minor 05. Deathless
Formed in 2009, the band have become a cornerstone of the independent scene, releasing over 10 albums – including collaborations with artists such as The Band Whose Name Is A Symbol and Black Tempest. Much of their catalogue has found a home on the widely celebrated UK psychedelic label Cardinal Fuzz, alongside stateside partnerships with the legendary Feeding Tube Records.
Live Dates: 17/07/2026 – Outpost, Liverpool w/ Mugstar, Shoun Shoun 09/08/2026 – Kozfest, Penmaenau Farm, Builth Wells 13/09/2026 – Golden Lion, Todmorden [Album Release Party]
Dead Sea Apes is: Brett Savage – Guitars Jack Toker – Bass, Guitars Chris Hardman – Drums
There I was, dicking around in the Obelisk group on a certain corporate social media platform, and lo, it’s a post from The Kings of Frog Island! Well hey, that’s pretty sweet. It’s been a minute, etc. Their last record was 2021’s VII (review here), which offered hooks and lysergic expanse in kind, and apart from the ongoing quality of their work, they’re a sentimental favorite of mine for, well, over two decades now, as it turns out. Their self-titled debut, which set the whole numerical sequence in motion, came out 21 years ago. On Elektrohasch, no less.
But it wasn’t just the band saying hi. It was the band saying hi we have a new song, which is what brings us here. “The Future Doesn’t Just Happen” would seem to have been recorded in the band’s studio space — Amphibia West, it would seem to be called — on June 18 of this year. It’s mostly acoustic and they’re generally pretty mellow anyway, but it’s not the only new song they’ve posted from the apparently-in-the-works VIII LP. Some minute digging on their YouTube channel and I found a fully-plugged rendition of a song that at the time seems to have been called “The Witcher” — I don’t know if they’re gamers or not, but remember it was/is also a tv show — and that also has its own acoustic version under the title “Waiting So Long.” I didn’t include that here because, 1: it looked weird and confusing in the post with so many embeds and 2: maybe it’ll encourage you to seek it out there. As surprised as I was to find the new material, I was even more surprised to learn I hadn’t subscribed to them on YouTube. Error corrected.
I have no information on when the next The Kings of Frog Island album might be released, or how. You’ll recall VII was on Kozmik Artifactz, but whether or not that association continues is yet to be revealed. “We’ll see?” and a shrug are kind of the best I have to offer — to wit, my comment on their post in the group was “WHAAAA???” — but the point isn’t what might at some point be so much as what now is, and that’s these videos. They’ve never been a touring band or done a ton of live stuff, and especially considering that, having this kind of intimate performance captured feels all the more precious. Dudes in a room? Yeah, it is, but the point is the song, the fact that they’ve got something new in the works and that they believe in it enough to present it in as barebones a fashion as possible, which is to say unplugged.
More to come? With a fan’s greed I hope so, both as regards videos like this and the actual record, but they’re not the kind of band you want to rush, either, even after five years. They’ll take the time they want/need to take and whenever it surfaces, VIII will have been accordingly worth that wait. For now, I hope you enjoy “The Future Doesn’t Just Happen” below and “Waiting So Long” near the bottom of this post:
The Kings of Frog Island, “The Future Doesn’t Just Happen” acoustic clip
The Kings of Frog Island: The Future Doesn’t Just Happen Acoustic 18062026
Relaxing Psychedelic Space Rock, Stoner and Drop Tuned Rock.
Recorded at Amphibia West
The Kings of Frog Island are:
Mark Buteux Gavin Searle Lee Madel-Toner Phil Moorhouse
The Kings of Frog Island, “Waiting So Long” rehearsal clip
Posted in Whathaveyou on June 26th, 2026 by JJ Koczan
If you caught Corrosion of Conformity earlier this month in Glasgow, London or Manchester, I hope you got there early enough to see Ritual King — for whom the last of those shows was their first hometown gig in 15 months — opening up the night. The progressive-leaning three-piece released their Futureworks Sessions last year and set about supporting it last Fall with a run that included stops at Tabernas Desert Rock Festival in Spain and Keep it Low in Germany. This Fall’s corresponding stint won’t cover as much geographically, but the UK tour includes Doom Destruction Fest and Ball to the Wall Fest, and seems to see them step into headlining the club shows leading up to those two, so right on. You might recall when they were out last year, it was opening for Nick Oliveri‘s Mondo Generator.
Ball to the Wall Fest, it should be noted, is put on by Ritual King bassist Dan Godwin, and in addition to this own band, the Riffolution-presented festival will host Elephant Tree, Slabdragger, Hundred Year Old Man, Sea Bastard, Vassal, Under and Ironkat for an all-dayer bill on Oct. 31. I assume if you show up in costume, no one will give you any crap for it, not that they’d be likely to anyway. It’s not that kind of scene.
The band posted the tour dates on socials thusly:
The road beckons this Autumn 🍁🌓🌛
Beyond The Vale weaves its way through the UK in October, taking in eight gatherings over as many nights, from Bournemouth to Edinburgh and back again.
15/10 – Bournemouth – Anvil Rockbar Bournemouth 16/10 – London – Helgi’s 17/10 – Bristol – The Gryphon 18/10 – Plymouth – The Junction 22/10 – Edinburgh – The Hive 23/10 – Nottingham – The Old Salutation Inn 24/10 – Birmingham – The Flapper 31/10 – Manchester – Rebellion Manchester
Posted in Whathaveyou on June 23rd, 2026 by JJ Koczan
If you’re thinking it hasn’t been all that long since Conan released their last album, Violence Dimension (review here), in Spring 2025 on Heavy Psych Sounds, well, you’re right. And as they’re currently in the studio with familiar producer/former bassist Chris Fielding at the board, it probably won’t be all that long until they’re done banging out their next one either. To wit, the UK trio’s next US tour starts July 6 in Hamden, Connecticut.
Whether that’s a hard deadline or not — like, maybe they want/need to have the tracks recorded and/or mixed before they go on tour or maybe they don’t — productivity suits Conan and has at this point for years. Led as ever by guitarist/vocalist Jon Davis, the marauding trio laid waste to Euro stages this past Spring, including at Desertfest Oslo (review here), where I was lucky enough to catch them. They are not an unknown quantity by now, 20 years and six full-lengths on from their founding, but knowing what’s coming has done precious little to dull their impact over time. Indeed, they’ve only gotten nastier in recent years.
So before you start thinking about a release date, I’ll draw your attention to where the band says they’ll “begin work” tomorrow (which is today) rather than finish it. Still a long way to go before a thing materializes. But progress is progress, and destructive as they are, Conan always seem to manage a good amount of that.
From socials:
NEW ALBUM ANNOUNCEMENT – JULY US TOUR UPDATE
We head to Chris Fielding and @penylanstudios tomorrow to begin work on the follow up to VIOLENCE DIMENSION. Not giving anything away but our working title will be ‘Melancholy and The Infinite Radness’
Also, by the way, our US tour starts early July. Ticket links are below, shows are filling up so don’t snooze on buying your tickets.
mon 7/6 Hamden, CT – Space Ballroom tue 7/7 Braintree, MA – Widowmaker Brewing wed 7/8 Portland, ME – SPACE Gallery thu 7/9 Syracuse, NY – The Song & Dance fri 7/10 Buffalo, NY – Nietzche’s sat 7/11 Cleveland, OH – Grog Shop sun 7/12 Dayton, OH – Cosmo Joe’s mon 7/13 Chicago, IL – Reggies tue 7/14 Milwaukee, WI – X-ray Arcade wed 7/15 Minneapolis, MN – Zhora Darling thu 7/16 Iowa City, IA – Gabe’s Oasis fri 7/17 Lawrence, KS – Bottleneck sat 7/18 Little Rock, AR – Rev Room sun 7/19 Shreveport, LA – Bear’s mon 7/20 San Antonio, TX – Paper Tiger tue 7/21 Austin, TX – Far Out Lounge wed 7/22 Lafayette – Freetown BBR thu 7/23 New Orleans, LA – Siberia fri 7/24 Birmingham, AL – Saturn sat 7/25 Chattanooga, TN – Heavy Valley Festival
CONAN is Jon Davis – Vocals/Guitars Johnny King – Drums David Ryley – Bass
London heavy rockers Okay You Win release their debut album, End of Days, this Friday, June 26, through Blues Funeral Recordings. At eight songs and 52 minutes, it is an album of big spaces and modern, niche ideologies, seeming to have learned from from the melodic desert-style crunch of Steak to the plus-sized-riff plunge of Kal-El, a touch of Green Lungy drama (but just a touch) in “The Greatest Lie” and the propensity for vocal soar of Sergeant Thunderhoof. There are moments that touch on metal, but catchy opener “Smoke” sets a broad swath with its fist-pump of a riff and shift into a semi-psychedelic passage before they turn it back around to the hook to finish, while the subsequent “Beat Me Down” follows the pattern of its drum swing into a London-stomper (you know the stage move I’m talking about; big bent-knee stomp in time to the riff) of a nod over the course of its eight minutes, offering some twist of riff that reminds of Solace before diving headfirst into the slowdown.
The meld of spaciousness and scope of sound in “The Greatest Lie” — the ability of Okay You Win to create and fill a space in their material — epitomizes one of the band’s greater strengths at this point, and while finding an unoccupied stylistic corner in arguably the most packed heavy underground scene in the world is inherently a challenge, as End of Days plays through, the material feels both like it’s willing to dwell and that it carries some measure of immediacy. It’s like “hurry up and chill the fuck out.” Which, I mean, yeah. Especially on side A’s longer, seven/eight-minute slabs, with “This Damn Place” following “The Greatest Lie” to put the first half of the record to bed, the four-piece of vocalist David Kirk, guitarist Ryan O’Hare, bassist Rodrigo Barradas and drummer Antonio Peci, the ambition of End of Days as regards craft seems straightforward enough, but repeat listens reveal greater depth and complexity. There’s plenty of heft being thrown around, but that doesn’t come at the cost of atmosphere, and as “This Damn Place” slows its main riff at the crescendo and rounds out with feedback over the bassline, the affect is duly classic stoner rock.
“End of Days” and “Red Flag” are shorter and more direct, but consistent in production and overall scope, and “Ten Year Trip” brings the largesse to the fore in a way that feels current without indulging in basic tone-worship, resolving in lead lines that remind of Earthless but resist the urge to jam. Closing out, “Own It” makes a play toward the fuzzy anthemic, with quiet lines opening to full-roll and a return of the looser divergence into effects and such in the bridge, tying together the end of End of Days with the beginning in a manner that feels purposeful on a songwriting level. They have further they can push, both in and around psychedelia and in the urgency they convey elsewhere throughout, but frankly, that’s what the next album is for. Over time, they’ll either draw together the various sides of their sound as laid out here, or make the lines between them more vivid and explore around the contrasts — or both or neither, I guess; universe of infinite possibility and all that — but if End of Days feels like a heads up for the converted to the potential of what they might bring to fruition, it’s serving that notice loudly, recognizably, and engagingly in the here and now.
It’s my pleasure to host the full-album premiere of End of Days below. You’ll find it followed by more from the PR wire, including upcoming shows this week for the release and at other spots throughout the rest of this year, including Stoomfest at The Garage in London, where surely much stomping will be had.
Enjoy:
Okay You Win, End of Days album premiere
Deploying a double hit of heavy riffs and soaring vocals, OKAY YOU WIN have quickly built a solid reputation in the UK underground, bringing their blend of driving rock with stoned psychedelics and doomy breakdowns to a string of shows and festivals across England and further afield.
Drawing heavily on Seattle Grunge, California Desert Rock, 90s alt-rock and classic British metal, the four-piece caught the attention of fellow UK rockers Psychlona, who offered enthusiastic support and guided their new friends toward producer Andy Hawkins and The Nave studio in Leeds for their debut album.
Following a year that saw performances in London, Edinburgh, Norwich, Birmingham, and a short tour around Spain, Okay You Win are ready to unleash End of Days in June 2026 on the heels of a DesertFest London slot, with lots more live appearances to follow this year.
Tracklisting: 1. Smoke 2. Beat Me Down 3. The Greatest Lie 4. This Damned Place 5. End of Days 6. Red Flag 7. Ten Year Trip 8. Own It
Okay You Win Live: June 25 – The Imperial Palace of Big Red, London (Album Launch) June 26 – The Metal Monocle, Leicester July 27 – The Cart & Horses, London August 1 – Bay Days Festival, Chelmsford September 26 – Stoomfest, The Garage, London October 25 – The Lady Luck, Canterbury
Okay You Win is: Rodrigo Barradas – Bass David Kirk – Vocals Ryan O’Hare – Guitar Antonio Peci – Drums
