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Dearthworms Announce Debut Album “Sapsucker” due 26th July on Redundant Span Records & Share New Single “Strike Low”

April 30, 2024


Announce debut album, Sapsucker,
due 26th July on Redundant Span Records

Sheffield five-piece Dearthworms announce their debut album, Sapsucker, due 26th July on the city’s Redundant Span Records. Sapsucker is a ferocious yet considered blend of jagged noise, wonk-rock, and a touch of experimental post-punk; an altogether different beast from band members’ past and current projects inc. Blood Sport, Amorous DialoguesKnorke and Stray Bullet.

The album will be released on vinyl and digital download. Preorder here.

Leading the charge is new single “Strike Low”, a song that is written from the perspective of a male praying mantis before it shifts into human narration. The first half of the song has an almost bordering on country shuffle to it – although more in the way bands like Meat Puppets or Butthole Surfers may utilise that genre – before it bursts into life with incredibly catchy riffs, as vocalists Nick Potter and Edith Rothwell engage in some equally infectious call and response vocals.

The new single launches the listener amongst this rapacious arrangement, this rolling rhythm and urgent drum shuffle sparks this immense crucial status to this voyage. The guitar rhythms weave through the depth of the soundscape and the lyrics and vocal harmonies emerge to add this emotive/human touch to the dynamic track.

The release catapults through various time signatures and heavier peaks. The arrangement alternates verses and intensity through the movement of vocalists Nick Potter and Edith Rothwell. These two animated forces combined allow Dearthworms to show their magic, these two contrasting harmonies elevate one another, one brooding and raw, to the other lighter harmony that tinges through the landscape with this scratchy and punk euphoria. This call-and-response state of melody places this energetic surge through the complex composition, layered higher than the ardent instrumentation that vigorously adapts throughout.

When the release ends, you long to be a part of this experimental creation once more, it makes sense, it welcomes you and you want that adventure to last!

Filmed in Gleadless Valley, Sheffield and on their recent tour with Ye Woodbeast and taxidermy puppet company Pish and Chips, Dearthworms say of the video: “We felt like the best way to present our horniest song was with chaotic live footage and abstract violence. We cannot confirm who or what was under the spade.”

Album preorder:


1. Waste of Skin
2. Strike Low
3. Blessed Child
4. The Worm Swallows The Dirt
5. Rorthide
6. Boys In The Wood
7. Landsknecht’s Message
8. No Surprises
9. Warlock of Change

Dearthworms are:
Andy Sissons – Drums
Andy Ball – Guitar, Vocals
Edith Rothwell – Bass, Vocals
Finn – Guitar
Nick Potter – Vocals, Keyboards

The record is about weird people and weird experiences,” says Nick Potter. “I’ve got a really vivid imagination and I like getting in the head of strange characters.”

And so sets the scene for the bizarre and wonderful world of Dearthworms. Made up of Nick, Finn, Andy Sissons, Andy Ball and Edith Rothwell, the band offer up a ferocious yet considered blend of jagged noise, wonk-rock, oddball pop, and a touch of experimental post-punk. Further infused with Nick’s surreal, eerie and vivid lyrics, the band have created something genuinely unique on their debut album.

Stepping into Sapsucker is to dive head first into a parallel universe populated by snivelling, pathetic men, tales of eroticism, ruminations on death, and even a giant worm rooted in North-East folklore.

However, in much the same way someone like David Lynch can imagine up wild, arresting, and otherworldly universes plucked from the backdrop of American suburbia, the basis for Dearthworms’ exploration of the surreal often lies in the humdrum cycle of everyday life. “There’s a mundanity and normality to what we do in a way,” explains Nick. “But within that normality we tap into a kind of nauseating weirdness.”

Despite all this talk of peculiarity, there is also an alluring accessibility to the band.  Dearthworms are able to merge infectious riffs, subtle melodies and discordant rhythms along with their more leftfield leanings. “We like things that are fussy, weird and intricate,” says guitarist Finn. “We love sneaking in a bit of weird dissonance or odd time signatures but it’s making sure that stuff is not just a gimmick. It shouldn’t feel forced. We don’t want people to think, oh, that’s a deliberately wonky song. It should feel natural but it’s just off-centre enough that it pulls you in a different way.” Nick echoes this sentiment: “We like stuff that hits hard but is almost slightly slurring.” 

The production, by Lyndon Hobson, is also a notable contribution to the end output of the record. While it succeeds in capturing the bite, snarl and ferocity of an album that is unquestionably complex and gritty, it also allows space and breathing room, with textures and atmospheres allowed to gently float around. The production ultimately captures the tone of the album itself, which is one equally rooted in anxious introspection as much as it is noisy and cathartic outpourings. All of which results in a debut album that is genuinely distinct and singular, filled with varying twists and turns and off-kilter movements.

The band, who all have a longstanding history of being in various other bands in Sheffield, are a by-product of the DIY space Hatch; a place that has existed as a creative incubator and experimental breeding ground for the band since forming. “It’s allowed us to go at our own pace,” says guitarist Andy Ball. “We are quite relaxed and slow with what we do.” This approach also fits into another crucial ethos of the band too; one that stands as a refreshing antidote to so many bands whose career ambitions often take primary focus over their creative ones. “We are proudly a hobby band,” says Nick. “That’s a big thing. We’re doing this for fun. There’s not a careerist mentality. A lot of this is therapy for us. It’s a chance for us to sit in pubs, play gigs, berate people, and get our weird sad thoughts out of our heads and into music.”

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