Something in the Lake reflect on their journey from Croydon college days to London's vibrant stages, sharing how diverse influences and personal experiences have shaped their uniquely eclectic sound.

London’s vibrant music scene has given birth to countless innovative acts, and Something in the Lake is no exception. Hailing from Croydon and forged in the creative crucible of college, this dynamic band has evolved through various musical incarnations, melding influences from Motown, psych folk, and mid-west emo into a sound that’s as eclectic as it is heartfelt. In our exclusive Q&A, Something in the Lake opens up about their journey, the inspirations behind their latest single "Fire," and the collaborative spirit that defines their creative process. Built around the hypnotic tones of a harmonium, drawing on the rich textures of Indian classical music and the experimental edge of Robert Wyatt, the track is a sonic exploration of rest and healing, themes that resonate deeply with the band’s personal experiences and artistic evolution.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

We're are London based band who met at college in Croydon. We've been playing together in many iterations for years, and the music has changed a lot in that time. At the moment we're enjoying a lot of Motown, Psych folk stuff and mid west emo.

Congratulations on your new single "Fire"! The single is built around the sound of a harmonium. What drew you to that instrument, and how did it shape the songwriting process?

A lot of Indian classical music and the way Robert Wyatt plays synthesizers on ‘Old Rottenhat’.

It's an instrument which can put you in a sound world which needs little action to make it beautiful. Also, in a sensory way it's satisfying to play, you can feel it taking in air as you would breathe.

The song explores themes of rest and healing. Was there a specific moment or experience that inspired this?

The band's been through all sorts of stuff from addiction, alopecia, dealing with psychotic episodes; it's a constant reminder to check in with each other and yourself.

The production team on this track includes Shuta Shinoda and John Webber. How did their involvement influence the final sound?

Hugely. We went in saying adjectives like dirty and raw. It feels organic because of Shuta. He kept us moving through the process by doing limited numbers of takes, but when we had to talk or try some ideas out, he gave us the space to do so.

"Fire" is the first single from your upcoming EP Dogs. What can we expect from the full release?

Some more gut wrenching material, including a tune about the dog that sat outside the hermitage road offy near where we used to rehearse.

What was the most unexpected or challenging part of making Dogs?

It's been a really positive marker in time. This EP has felt the most collaborative so far. Shuta allowed us to let go of the process more so it's felt more intuitive compared to our last project ‘Listener’. We're trusting ourselves more and self produced three of the tracks. Often, it feels the biggest challenge is just getting us in the same room, after that it works out.

John Kennedy has already given you some early radio play. How does it feel to get that kind of recognition before the EP is even out?

We're super grateful for the support. John Kennedy has this real wealth of experience and community spirit about him which makes you feel totally seen. He was the first to give us any air time. Totally energising and encouraging for any band or artist. He's such a champion.

Your label, Big Richard Records, is home to a really interesting roster. How did you end up working with them, and what has that experience been like?

We've known them since we started playing shows out of college around SE London. They're the best. It's thrilling to be able to get into it with them because they get it, they know us as people, they understand the importance of good music and what it really means to bring everyone under the same roof. They are also mad grafters, can't wait to see where things take them.

London has such a diverse music scene. Do you feel like being based there has shaped your sound in any particular way?

Yes massively, we take as much inspiration from our friends' bands as much as we do from old bands that we love. There's so much good music and so many good people that it's impossible not to be influenced by it. That's the beauty of doing something like this Residency with Big Richard because we can celebrate that diversity of people and sound worlds.

If you had to recommend one non-musical influence that shaped this record, what would it be?

Dogs

What do you love right now?

San pellegrino's sparkling water, Baklava, painting, playing shows, making soup and ragùs.

What do you hate right now?

The way they renamed the overground. Also not keen on live nation.

Name an album you’re still listening to from when you were younger and why it’s still important to you?

For us it's going to be something by Radiohead or Portishead. In Rainbows, Third or Kid A probably influenced us more than anything else. The balance between amazing songwriting and inventive production and arrangements is what we aim to achieve with every song. When we were younger we were more into the “writing the most insanely complicated song ever part”, but as we've grown as a band we've started to appreciate the simplicity in a lot of the songs off of those records.

With Dogs on the horizon, what’s next for Something in the Lake? Any live shows or plans you can share?

We've got the EP coming up and a big ole show at Moth Club to accompany. We're going to get loads of our friends to come join us and play through the whole EP. We're very excited about it all.

Start Listening To: something in the lake