THE MUSIC. THE MADNESS. THE BACKROOM.

A must have for your new years eve party.

Peak-time melodic techno house with long-tail reverb risers and precision countdown FX; deep soulful male lead, soaring into a big backing choir.

Bang it on for your New Years Eve party and time the countdown at the last section of the track.

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Yes it's that time of year.

Introducing Christmas Party Glitter and Gold.

A bit of hard neo-trance, dark cyberpunk, aggressive distorted acid bass, industrial sleigh bells, twisted chimes, industrial grit and a punchy anthemic drop.

If you've been a good little boy or girl or anything in-between then maybe Santa will crawl down your chimney with this in-between his teeth.

Its the Christmas Parteee...

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A bit of a departure from our normal craziness.

Deep house with traditional Dixieland swing jazz: muted trumpet lead, staccato brass stabs, saxophone, Rhodes extensions, rhythm guitar.

Inspired by the beautiful city of Savannah, Georgia, and its rich musical heritage, The Streets of Savannah is a little journey through Americana, blues and the stories that music leaves behind.

Drawing inspiration from legendary songwriter Johnny Mercer, blues guitarist Blind Willie McTell and the wandering musicians who brought the city's streets to life, the song imagines a moment in time when a simple tune becomes something worth remembering.

But there's another story running quietly beneath the music. One about time, distance, memories and the people and places that never quite leave us, however far away they might be.

Because sometimes a song is about more than the place it's named after.

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Spooky Wooky is Backroom Puppets going full Halloween mode, a thumping, ridiculous collision of ghosts, monsters, corrupted machines and questionable plastic drinks.

Run if you want.
Hide if you must.
But when the ghosts get into the machine and the bass kicks in, there’s really only one thing left to do...

S-P-O-O-K-Y W-O-O-K-Y.

Welcome to the rave.

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We’re continuing our journey through electronic music and wherever the noise takes us.

This time, it’s taken us somewhere a little brighter, a little poppier and considerably more ridiculous, but underneath the hooks, Binned In ASDA is still firmly grounded in the bass-heavy electronic sound we love. Its also based on a true story.

UK bassline meets rapid British garage percussion, pumping 4x4 warp bass, rave supersaws, lo-fi tannoy static and radio-filtered production at 138 BPM. Throw in a sarcastic conversational female vocal that shifts from disbelief to full-blown incredulous shouting, soaring hooks and a high-pitched backing choir, and somehow we ended up with a breakup anthem set in a supermarket.

Because there are good places to end a relationship.
There are bad places to end a relationship.

And then there’s halfway down Aisle Four in ASDA, standing between the carrots and the sprouts.

Binned In ASDA is the story of one spectacularly badly timed breakup: a basket full of vegetables, a boyfriend with something to say, and the slowly dawning realisation that, yes, you really are being dumped in a supermarket.

It’s ridiculous. It’s strangely uplifting. It’s probably the closest we’ve come to pop so far.

And somewhere out there, Sonia is still on her way to Aisle Four with the mop.

Some things in life are funny. You’ve got to have a laugh.

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Our debut single.

A gloriously absurd fusion of French disco, filthy basslines, soulful house, huge beats and whatever else we could throw into the mix without breaking it.

Six minutes of bonjour, bass and questionable musical decisions.

Fusion is a scientific art. It’s supposed to be absurd.

J'adore la crasse disco!

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