IN CONVERSATION WITH WOUNDER
IN CONVERSATION WITH WOUNDER ARTIST PLAYLIST By Eli Callingham 21 February 2026 Introduce yourself. I’m Sonny, I write and record under the name ‘Wounder’. I’ve been making music a very long time – 10 years. Been using this name the last two years for more metal-adjacent stuff. How was the show tonight? The show was cathartic as fuck I cant lie. Life’s been annoying recently and this was a really good outlet. It was one of them ones where you kinda go into it and you’re just like expecting it to be fucking hell to be that vulnerable but no, I got a lot out of it. It was nourishing for sure. How would you describe your music to someone who hasn’t heard it before? I kinda grew up on UK Bass music my whole life. Both my parents were into Drum & Bass in the 90s, I was raised on that from a very young age and I think for me the main point in my music at the moment is combining that – growing up on metal music and bass music. It’s kind of finding that – this sounds really wanky – but just finding a bit of catharsis in obnoxiously loud bass lines and combining that with the scream. For me that’s a way I can kind of get shit off my chest. Big bass, fucking screaming, guitars and shit. It’s a weird mix of genres and it’s cathartic to me, and hopefully it will be to whoever listens to it. [Later over voice note he clarified this idea more] “The main crux of it was sort of like, we use it [bass] in a very functional way. It’s supposed to get people moving, which I love, but there’s often nothing emotional about its use. It can be very clinical, and just serves this one purpose. From a young age, in the same way that I’d find listening to metal music cathartic, I found a fat banger will achieve a similar form of catharsis. You know if you’re having a bad day and you need to fucking shed something, I always found that music was quite good for it. You know the whole sound spectrum, it’s the range that drives the most force, and that can be harnessed emotionally. I think sometimes the violence of hard bass can actually do a lot for the soul and for release.” What inspires you? Some days it will just be like “I gotta get something off my chest” and there’s no sonic reference, it’s purely instinctual. But at the same time, sometimes it will just be that I hear a piece of music and I’m like “I gotta offer something to the world that’s similar to this”. It’s a really big mix but I’d just say like living in general, just consuming music, experiencing things. Music to me is just an outlet, a way to get things out.something, I always found that music was quite good for it. You know the whole sound spectrum, it’s the range that drives the most force, and that can be harnessed emotionally. I think sometimes the violence of hard bass can actually do a lot for the soul and for release.” Are there any underground artists you’ve been listening to? I got three actually. The first one is a more local person, 300SkullsAndCounting. He’s in this band Mitsubishi Suicide as well, he’s fucking amazing. I love his shit. He’s got his own lane, he’s doing something incredibly unique and it’s worth checking out. There’s a black metal artist I’ve been really enjoying called Volahn. He released an album called Popol Vuh last year and to me that’s like the most horrifying metal music I’ve ever heard. It’s like if you put a cosmic horror story into sound, it’s just terrifying. I want to shout out this album called Handwriting by Khonnor. It’s from like 2004, you might need to fact check that [FACT CHECK: it is]. I think if you look at a lot of the twee, indie electronica that’s really picking up motion now, you can really find a starting point in this guy’s music. Are there any gig venues, spaces or event series you’re excited about at the moment? I’m very excited about this one gallery in Haggerston called Final Hot Desert. In 2023 we did a show together. It was for a really good artist called John Knight. It was a homage to how he grew up in the Cincinnati hardcore scene and he was bringing different materials he would see in those venues. I played there at the private view and that was still my favourite gig I’ve ever done. I’m not even an art guy, I like music above all art forms because of the accessibility and no matter who you are, no matter what education you’ve had, the privilege of, if you hear something raw you’re just going to connect to it and that’s something that other art forms can’t really achieve. But I will say that at Final Hot Desert there is a baseline you can always connect with, even for someone like me who doesn’t have the context of reading a bunch of smart people books. What’s a song everyone should add to their playlist? The Myth Arc by The Body. The Body are one of my all time biggest inspos, so much of my sound I owe to listening to their shit since I was a kid. That song specifically, that’s so inspiring to me. It’s just a really good fucking juxtapositon of abrasive texture and really gut wrenching female vocals and melody – it’s just a perfect mix of the macho noisy side but it’s also got a real feminine touch to it. I’m not a big fan of overly macho metal music. Any final words of wisdom? Something that helped me was detaching my ego from what I do and not seeing good music as a way to validate yourself. I think
FRIEND CRUSH CURATED BY LAUREN AUDER // WOUNDER REVIEW
FRIEND CRUSH CURATED BY LAUREN AUDER // WOUNDER REVIEW TNAM.UK By Eli Callingham 21 February 2026 On Monday 26th January, somewhat of a dreary night, I made my way to East London’s Shacklewell Arms for a ‘Friend Crush’ event programmed by Lauren Auder. An eclectic lineup featuring performances by Wounder, Jennifer Walton and Lauren Auder herself, who played new material that was due to be released on that Friday [praxis out now]. ‘Wounder’ is the alias of Sonny Holland, London based artist and producer, and purveyor of heavy music who has cemented himself in the broad underground scene over the last few years by playing at a number of event series for those in the know (BalaX, Borough, Genesys and Trauma Unit), recording and playing his own music as well as producing for others. He has previously released music under ‘crimson//chaos’ (RIP). With Wounder, Sonny sits comfortably in both the electronic and metal worlds, fusing heavy basslines, detailed sound design and walls of distorted guitars with fry scream vocals, and choppy vocal processing. Working adjacent to ‘post-club’ while channeling a distinctly post-genre sensibility, he plays with established conventions while reshaping them into something distinctly his own. Through both our conversation and his output you can tell he has eclectic taste, something that’s also evident in his collaborations. His latest album, ‘Builder’, released through Final Hot Desert in August 2025, features notable collaborations with Australian producer Sus1er, a figure known for his work across rap and dance styles, and London based underground veteran Felix Lee, both known for their genre-bending approaches. He plays in the latter’s live band contributing live electronics. Great performance clips found [HERE]. Audio of which is found [HERE]. At Friend Crush, he performed a stripped back thirty-minute set. His equipment, an assortment of devices – a sampler, pedals, MIDI keyboard and laptop organised on a table to the left of the stage which was also used to lean against in moments of respite. He seemed as comfortable with this setup as he is with a live band. He navigated the set’s dense material with ease, the highlights being ‘I Never Said That I Didn’t Mean It’ and ‘Tell Him I Too Have Known’. Abrasive, tremolo-picked guitar tones punctuated the set, interspersed with texturally juxtaposed synths and pads that were more prominent in the live mix, than on the released material. The bass cut through and remained as a constant yet welcome onslaught – my only gripe was not experiencing it on a larger sound system. The tracklist tastefully alternated between blast beats and electronic drums. An ebb and flow from the more frantic to morose cuts. The audience’s response reflected this mix of styles: both head-banging and bobbing, moves associated with the two genres. The black metal influence and stylisation on his work is undeniable – throughout his instagram feed and previous shows he’s seen sporting corpse paint and using the titular vocal fry common to the genre, but what I found with this live show was a performance style more confrontational and synonymous with noise artists. As reference, this Prurient performance comes to mind. It was an incredibly animated performance, an embodied practice that included him collapsing on the ground, beating his chest, leaping off the stage and contorting his frame. He acted as a vessel for the music, with the same cathartic release as a noise performance but with more grace and less violent movement. It allowed the audience to feel comfortable enough to draw close and enclose him in a circle. As the show concluded parts of the mic stand lay scattered across the floor. No mic stand is safe – he corroborated that is a common occurrence at his shows. He quietly and calmly packed up his equipment, pedals, and power supply in a black duffel rucksack and adjourned for a quiet cigarette outside of the venue. After his performance he kindly gave some of his time for this interview [Click Here]. You Might Also Like Recent Posts
｡✯New Single Release✯: Jar Of Blind Flies “Not Your Baby”
｡✯New Single Release✯: Jar Of Blind Flies “Not Your Baby” Jar of Blind Flies have continued to maintain a tight grip on their local music scene, deservedly fixed in a top-podium position alongside Brighton’s growing hall of fame. 14.02.24 Words by Kristian Floate https://www.youtube.com/watch?v=bnCiaUJoEks After numerous live circuits across the UK in 2023, and consistent sell-out hometown appearances, Maddy (vocals), Jake (bass) and Marley (drums) have re-rooted back to their recorded work with a brand new anthem – ‘Not Your Baby’. As the first release from the Brighton-born trio since 2022, this is set to be an unbeatable valentines day treat! With cascading cymbal-heavy drum work intertwined with lovingly fuzz-kissed bass runs, Jar of Blind Flies have played homage to the grungier noise-laden punk fusions that have grown to define their sound. Flowing parallel to Maddy’s angelic harmonies, it’s this contrast that ties the trio together and sets them far apart from the rest, while offering a glimpse into a gritty 90’s nostalgia that underlines the trio’s influence. Each verse opens up playful call-and-response between Maddy and Marley, nodding to their earlier release ‘Crawl Back Inside’ and setting the tone for a chant-worthy live staple piece. ‘Not Your Baby’ Is a refreshing insight into a band that have honed in on their sound while simultaneously progressing to new, heavier terrain – something that these three blend seamlessly with reflective tear-jerkers such as ‘Dolly’ and mesmerising microtonal masterpieces like ‘Angels’, two tracks from 2022’s debut album ‘MÍÀ’. As early risers to the DIY revolution in Brighton, Jar of Blind Flies always had a natural flair for quality production and riveting live shows. The trio were quickly swooped up under the wing of Marshall, recording ‘Not Your Baby’ in a studio graced by the notable Kin Nun, Nova Twins and more! Bassist Jake Smith explains: ‘Recording at The Marshall studio was a whole new level for us. Going from the relatively DIY recording style of our early songs to recording in a 250-capacity amphitheatre with every bit of tech you could ever imagine was a Real culture shock. The way the recordings have come out is levels above what we could’ve hoped for’. The track is a collaborative effort, combining the forces of Tidalwave’s Alessandro Cogolo and Sam Allen in the production process. The unstoppable duo are a vital puzzle-piece to Brighton’s ever-diversifying music scene, and responsible for tracking, mixing and mastering tracks from emerging artists that have since propelled under the global spotlight (Lambrini Girls, Currls). Maddy, Marley and Jake have always emphasised the importance of these resources in their local music scene – especially one that has nurtured the talent of so many, and ‘Not Your Baby’ is no exception. With the trio firmly embedded in a flurry of noisy alt-rock sweetness, they’ve earnt the attention of fellow high-risers CLT DRP, supporting their hometown headline on 23rd March , and headlining Blondies showroom in London on May 2nd. ‘Not Your Baby’ will be released on February 28th, and after this exclusive first-listen – it’s set to be a soundtrack to 2024! View this post on Instagram A post shared by Jar Of Blind Flies (@jarofblindflies) You Might Also Like
NEW SINGLE RELEASE – Vaermina ‘Real Panic’
NEW SINGLE RELEASE – Vaermina ‘Real Panic’ 22.11.23 Words by Holly Eve Vaermina’s new release will leave you angsty, after unveiling their first track ‘Real Panic’ ahead of their album drop ‘Tantrum’ out on the 24th of November. https://www.youtube.com/watch?v=wrL_shq6qPg The London-based band have a lot to shout about in their new single that is defining a genre for alternative listeners, Holly Frape finds out. Experimental doom punk ‘outfit’ Vaermina have released their new single ‘Real Panic’. It comes as a pre-release to their sophomore album ‘Tantrum’. Contrast to their debut ‘Lovebots’, a recollection of glitchcore laced with hardcore percussion and esoteric structure. The band has since departed from this in ‘Real Pain’ honing the sound into the realms of punk. Artfully pushing the boundaries of the genre, through tight performances punchy production and catchy melodies, Vaermina has begun to carve themselves into the experimental escapism of the ‘Doom – punk ‘genre. Immediately, as the track begins, the listener is met with heavy, gritty guitar riffs and drums that accompany it parallel. Having absorbed the opening passage to the composition, you would be forgiven for thinking this may be a run-of-the-mill hardcore punk song. However, having spent any amount of time listening to Vaermina, you know this is not the direction that this is headed. As soon as the jarring vocal enters, the sentiment that this is any constrictive song writing will be dissolved in the vocal concoction of Caitlin Power’s unique talent. The melody which runs contrapuntal to the music, drives the rhythm. The childlike sarcasm in the phrasing imminently marries the destruction of the vocal and rhythm section in sacred unity. Despite this notion, the song already has defined its catchy hook, which will linger in your ears for days to come. Following this, an Avant-garde synth enters, leading us through a short and chaotic instrumental passage of brash and atonal nature. This may not be entirely what is known as standard musical practice, yet nothing would serve the song in its place. The track shifts gear with the intrusion of the deeper vocal which disconcerts the listener, the warbled electronic preaching is authentic in their sound. Following the offbeat song structure, the trio have positively excelled in nailing and honing the art of sonic expression with careful and deliberate songwriting. Which culminates a sensory feast for all who listen. Vaermina is single-handedly moving the alternative scene in a new direction. Caitlin Power, Ozario Argentero, and Gabriel are constantly experimenting with what they will come up with next. If the new single is anything to go by, we will be welcomed with various influences, an ode to many artists from Punk’s past intertwined with electronic chaos. Vaermina’s next release promises to be a project that is born out of anger, descent and offbeat expression. Perhaps in a similar vein to Bikini Kill, Hole, 100 Gecs and Death Grips. Vaermina’s sophomore album ‘Tantrum’ is out on the 24th of November. Image Courtesy of @vaermina.xoxo Instagram. You Might Also Like