Interview: Phil Stiles (Final Coil)
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Interview: 27th February 2026
Ahead of the release of their upcoming EP, 1994 (review here), Hotel Hobbies chatted with Final Coil frontman Phil Stiles. We discussed the history of the band, his eclectic tastes in music, the new EP and what is next for the band.
Hotel Hobbies: When you were growing up, what first drew you to music and who were the first bands you became a fan of?
Phil Stiles: What drew me to music in the broad sense was probably my stepfather, Arthur. He ran a disco back in the day when you actually lugged around boxes of seven inches. He was a physics teacher so he also had made all his own lights himself. Anyway, me and my stepbrother used to dig through the vinyl crates. When we started, I guess we were probably seven or eight years old, we would be picking out the hits of the day. I honestly couldn't tell you what those were now but there was definitely stuff like Depeche Mode, Madonna and Michael Jackson.
What did the damage was finding a blood red, scary looking seven inch with a zombie on the front. We also didn’t know you could get red vinyl so that was cool. It was Maiden’s Run To The Hills. We listened to it and thought it was amazing. Then, there was a kid across the street who gave me a copy of Appetite for Destruction on cassette in about 1989. It's hard now to think of Guns N' Roses as being this evil band but back then, it felt kind of rebellious. That was my introduction into the world of rock'n'roll. I really liked it. I listened to Queen and all that sort of stuff. But what changed my life from a musical was Nirvana releasing In Utero. While I loved it later, I didn’t really catch on to Nevermind at the time. Weirdly, it was the track Milk It on In Utero that did it for me. It's an angular song. It was like nothing I'd heard at the time. I just became obsessed with Nirvana. I absorbed In Utero. I bought a copy. I think it was the first album I ever bought on CD. I lived the liner notes.
From there, I found my way to Sonic Youth and Hole and the Butthole Surfers and later on, Swans. Guns N’ Roses and Iron Maiden were fantasy. A fantasy I could enjoy. They were escapist but it wasn't me. Whereas, Nirvana were these guys with guitars and I could just about mangle a few of the chords and they dressed like me. I grew my hair out and they looked like me and it was absolutely love at first sight. I just fell for it hook, line and sinker. And from that point on, I just started exploring all the different avenues of music.
Hotel Hobbies: What made you decide you wanted to play music yourself?
Phil Stiles: I'd always done some musical stuff. I was in choirs from a very early age, so I always sang. Then, like most people of my era, I played the descant recorder. It turned out that I was very good at playing by ear. So while my sort of long-suffering teacher was trying to get me to play Greensleeves or something, I was working out stuff like Meat Loaf’s I’d Do Anything For Love. I always wanted to play guitar but I kept getting pushed towards classical instrumentation. First it was the clarinet, which I did for about a year and a half and didn't really get on with. Then the oboe, which I got on with even less.
When I was about the age of 14, my mum did a deal with me. She was like, look, we'll buy you this really crappy nylon strung guitar and if you put the work in, we'll buy you a decent guitar in about twelve months time. So I spent every day trying to work stuff out. I started like most people with just one finger on one string. I started with trying to play Come As You Are. The internet had just sort of kicked off in a meaningful sense so I was downloading tabs from the school internet lab as well. At the end of the year, mum stuck true to the bargain and she bought me a really nice acoustic guitar. And the funny thing is, nylon strung guitars are not for bar chords at all. I was trying to play bar chords on this thing where the strings are kind of six miles off the fretboard. When I got a steel strung guitar, I could actually play all this stuff!
Hotel Hobbies: What ultimately led to the formation of Final Coil?
Phil Stiles: I always tried to be in bands. I always wanted to be in bands. I tried to be in one band and got kicked out very quickly for being crap. But I was always trying to make music and I had a tape recorder and would jam on songs. My friend Tim and another friend Matt formed a band called Endora with me and we played school shows and a couple of pubs after we left. That was my first taste of being in a band that played shows and I was hooked straight away. When I went to university, I bought, with my first student loan cheque, a Boss 8-track recorder. I graduated from cassette to digital which enabled me to start writing songs more completely. After a couple of years, I had this idea for a band called Final Coil but I could never really find anyone. Then a mutual friend who ran the bar in an ale pub introduced me to Richard at the end of 2002. Richard proved surprisingly amenable and came on board very quickly. We started thrashing out songs together.
When I went to Poland - for four years between university and starting Final Coil properly - Richard visited every year. Every time, he came with a guitar and we recorded songs and talked about how we were going to be rich and famous, well maybe not that part but we recorded a lot. Some of those ideas ended up on the Live With Doubt EP and another EP that never got released which was recorded in a proper studio but never felt quite good enough. It is lost in the mists of time. So Richard and I were doing that from 2003. When Jola and I came back to Leicester, it turned out Jola had a history as a musician; she was a jazz flautist. What I did not know was that she could also play bass. So she came on board and it was the three of us plus a steady never-ending rotation of drummers.
Hotel Hobbies: The band has obviously had quite an evolution since those early EPs. What do you think the band found in that early creativity that anchored you through all this time?
Phil Stiles: That is a really good question! I think the thing with all of us, myself, Richard and Jola, is that we all grew up interested in far more than one genre. I started loving Nirvana but I quickly wanted to get beyond that. There was Sonic Youth and Swans on one side and heavy metal on the other. Around 1995 or 1996, when Machine Head released The More Things Change…, I went down a heavier route. Over time, I became addicted to digging into the beginnings, the dark edges and the fringes of music. Richard is the same. His record collection is not linear at all. There is a core of heavy indie like Suede, Manic Street Preachers, Radiohead, Garbage but then you have Electric Wizard, Mastodon, Metallica and at the other extreme chilled-out or progressive music. He and I both love Pink Floyd and Genesis.
Jola is incredibly eclectic. Her background was playing in a big band - Miles Davis, Dave Brubeck - but she also loves Dead Can Dance, Napalm Death, Opeth and Darkthrone. So we are all eclectic. Some bands come together around a love of thrash or Metallica; we came together around not wanting to be cemented in any one thing. Across our releases, there are songs that are exceptionally heavy, songs that are essentially trip hop and expansive proggy pieces. Somehow when you bring it all together, it is us and it works. It is that love of experimenting and discovering things. In the rehearsal room you just know when it lands. You go in with a song, you play it and everyone says that it is exciting. That is what has kept us doing it and kept us together.
Hotel Hobbies: With Final Coil it feels like anything goes and you do not impose limits upon yourself.
Phil Stiles: Absolutely. I would hate to be trapped in a genre. Most musicians, certainly successful ones, are interested in a wide variety of music. You will find the guys in Metallica love thrash but they also enjoy blues, jazz or country. That is why these bands are successful; they are not trying to follow one set of footsteps. Their muse may be fast and heavy or slow and sludgy or dark and demonic but it still allows exploration. In third and fourth tier movements, you get people who only focus on one facet of the genre. They hammer that side and tend to be less successful. Some later thrash bands only focused on one aspect of what Anthrax or Megadeth were doing so they never evolved or developed a unique sound. Plenty of bands sound like Megadeth but Megadeth only ever sound like Megadeth.
For us it was always important to write albums. We write concept albums and songs that, certainly for me, have emotional depth. There is a lot of meaning behind what I am writing. Sometimes it is clear; sometimes it is more oblique or metaphorical. But the aim is always to write songs that serve the narrative. Imaginary Trip is a perfect example. It was me taking my grandmother for a walk along the hills of Dorset. So it is lilting, slow, meandering but builds. It suits the mood. Whereas Chemtrails, on the third album, is heavy and dark because the concept is dark and the fallout of people going down that rabbit hole can be very dark. So it is deliberately mechanistic and heavy.
Hotel Hobbies: Was the album trilogy conceived in that way from the start?
Phil Stiles: Not quite. The first album was just the first album. It had a theme around communication. It was about what happens when people communicate or do not, and the consequences within families and in society. I did have the idea that the second album would start with the end of the first as a little Easter egg. When my grandmother passed away at 101, I found a cache of letters among her possessions that expanded the theme - what goes wrong within families when communication breaks down. That led to the second album which is a series of vignettes from the perspectives of my grandfather and grandmother, who had separated many years before, exploring how their experiences, nominally in the same England, pushed them into different viewpoints. Hence The World We Left Behind for Others. Once that concept formed, I knew there would be a third part. If you talk about the old generation and how their experiences led to now, the obvious follow up is where are we and where are we going. Hence The World We Inherited (review here), written from the perspective of someone now.
The touch point came when I had the privilege to interview Jaz Coleman of Killing Joke. He was talking about conspiracy theories. If you know Jaz, he is eloquent, articulate, intelligent. I do not agree with all his perspectives but they are interesting. It got me thinking, what happens when conspiracy theorists take over, when conspiracies really take hold? I wrote this about a year before the January 6 insurrection but The Growing Shadows was how I pictured that sort of uprising. Watching the events on TV, I thought, holy shit, it was more prescient than I realised. History shows that when masses of people become disillusioned with what they think the political process is, violence is inevitable. People compare it to World War Two and I think that is more accurate than many want to believe. The Nazis were mostly ordinary people who became disenfranchised. One of the best books about Hitler explains how his dark but ordinary persona appealed to ordinary voters. So communication, sharing ideas, listening, empathising, is crucial. That is the heart of the trilogy.
Hotel Hobbies: Was it cathartic - after all the work on the trilogy - to put a full stop on that chapter of Final Coil?
Phil Stiles: To a point yes. That said I had already written the fourth album before the third had been mixed. And I have written the fifth album before going into the studio to record the fourth (laughing). It was closure in a sense. We never thought we would do this. Being in a band is hard, expensive and can be soul draining when things do not go as you would like. When we got the chance to go to Italy to record the first album, we never thought we would go back. We thought this is the best opportunity and probably never do it again. Then the second album came around, we went to Italy again. That was even better. Rich and I drove across Europe. A long-time friend I have known for fifteen years, playing terrible venues together and here we were driving across France in a day, camping in the Alps then heading into Italy to meet Barry and Jola who flew because we had to bring all the gear. It was amazing.
Then we spent a month in the hills of Parma recording the second album. Again, we thought that is it, we will never get to do this again. But people liked the second album and it got us the attention of Russ Russell, an amazing producer. Jola and I had decided we really wanted him; we were listening to Dimmu Borgir and thought, “Yeah, he is the guy.” When he came on board it felt like we had made it. Then suddenly the trilogy was done. I knew where we wanted to go next. The next album is a standalone but nods to the trilogy. And yes it marked the end of a big process. The sigh of relief was also because the pandemic hit right in the middle of recording the third album and stopped us dead. So many people were impacted and not to make light of that, but a lot of bands struggled. Some split - Anathema disappeared, for instance. We went from supporting the second album - Hard Rock Hell, Fusion Festival, bucket list shows supporting Marky Ramone and Shonen Knife - to three years of nothing. We lost our drummer - fairly standard for us - and could not get gigs or do anything.
When the album came back, labels were jammed up with backlog. It was difficult. When the third album finally dropped it got us a slot at Bloodstock plus gigs in Belgium and France. We played with Tiger, Lodestar, Matt Steady and The River. It felt like we had got over the hump. Now we are doing the EP and heading into the next album and it feels like a productive period. But yes, I think all of us were a bit burnt out releasing the third album. It was touch and go whether we felt we could push the boulder up the hill again. Turns out, we all did.
Hotel Hobbies: Alongside their musical ability, what do the other members bring to the band?
Phil Stiles: Jola is an incredible artist. She has done all of the EPs but it is nice to work with album cover designers for the big projects, like Andy Pilkington who did the trilogy. She did the drawing of Richard for Convicted Of The Right. She has done the collage for the new EP and she did the excellent covers for Somnambulant 1 and 2. She has a very good ear for how things flow together. Most of the writing is done by me and I usually bring a demo that is fairly complete. For album three, I basically gave the guys the songs in order, this is how it goes. But it usually goes to Jola then to Richard and both of them bring their own sensibilities. Jola is really good at pointing out the gaps which is something I do not always appreciate immediately. She will say, that works really well but what is this, why is this here. If you have to ask that question, you know there is a problem. For the fourth album, I went through about four iterations before we hit on the format. Jola has very good taste and she is very good at working with me to file down the bits where I have become self indulgent. That is easy to do when you are in your own studio environment and can do whatever you want.
Richard is kind of the opposite in the sense that he encourages some of my wilder flights of fancy then adds to them (laughing). So if I do two vocal harmonies, Richard will come along and say no, we need another seven, then go into his cubby hole and come back with a load of massed harmonies. Corruption on the first record is a really good example of that. Although I write all the songs, I never tell Richard how to write the solos. I leave a space. On the albums, there is usually a moment or two where I do some lead work and it is something emotionally resonant to me. For example, the slower solo in Imaginary Trip, the slide bit, which was a tribute to my grandmother. But I do not normally do lead. When I write a song, I leave a twelve bar or sixteen bar, or if Richard has really annoyed me, a forty-six bar space (laughing). Richard will come in and play a solo, say that is good. Then he plays another solo that echoes it. After three hours, there will be a pile of solos and it is my job to sieve through them!
Richard also has great ideas. When we did the Convicted Of The Right video, Jola and I had storyboarded it with the idea of a guy in his squat being indoctrinated and desensitised. Richard came up with the idea of the drill sergeant. So we put him against a wall in a military uniform and filmed him, and he was excellent. He has that theatrical thing. We all bring our own ideas and sensibilities. The concept and stories and the music start with me but by the time it is finished it is not mine; it is ours.
Hotel Hobbies: With 1994, you have mentioned about going back to go forward. Was it a chance to have some fun and not worry about something so deep but also to do something creatively different?
Phil Stiles: Yes and no. Without giving away too much about the next album and without suggesting this sounds like the next album because it does not, the concept of going back links very closely to the album that is coming. It is a deliberate link to the first three or four songs on the record and all will become clear when we reveal the plot. But yes, it was also a clearing of the cupboard. Two of the songs are brand new; two of them – Narcissist and Instant Fix - have been hanging around in the Final Coil arsenal since about 2007 or 2008. I really wanted to put them on Persistence of Memory but no matter where I put them in the track listing, they stood out like a sore thumb. They did not work. On the next two albums, everything was so conceptually focused. With Persistence, I probably could have got away with it thematically because they fit. Narratively, they did not fit album two or three at all. So these songs were going to languish forever in the bin.
When it came time to do the fourth album, I knew we had not done anything for a long time. The clock was ticking. I had approached a number of drummers and Graham Hopkins of Therapy? very graciously said he would do some drums for us. This EP came to mind. I pitched it to Jola and Richard. Richard was all for it. Jola rolled her eyes because she got bored of playing Instant Fix back in the day but once she heard Graham's drums, she was back on board because he did such a great job. When he sent us the drums, they came one song at a time, so we had the demo, he did the drums, it came back and it was like hearing a new record for the first time. Hearing these drums come in and thinking wow, this is us, was exciting. So yes, it was a clearing of the closet, a reset, but also I felt we had got a lot of love from the progressive rock community which I appreciate.
We have always had a strong affinity with the metal community which helped get us onto Bloodstock. I wanted to do something heavy and fun without the narrative baggage. Although, there is a cheeky link to album four because apparently we cannot do anything that is not pretentious (laughing). Nevertheless, it was a blast. Playing Narcissist and Instant Fix again was so much fun. Woke is my tribute to the Manic Street Preachers and Sonic Youth moulded into one. It was fun and the drums were great.
The only one that was a challenge was Playing Games, not for any deep reason but because when I first wrote it, I thought it had such a Smashing Pumpkins vibe that I fell into this Billy Corgan whine. Somewhere on my computer is a demo where I am doing a really bad Billy Corgan Siamese Dream impersonation. I love Billy Corgan and I know his voice is Marmite; I really like it, but it does not suit me. So I had to work out how it would play out vocally and it was not as easy as it might seem.
Hotel Hobbies: What qualities of that era did you want to honour and how did you approach it through a Final Coil lens?
Phil Stiles: The early 1990s and the 1990s in general are sometimes seen as a lost era because some metal fans look askance at grunge. Over time, there is more appreciation of how much cool stuff came out. There were a lot of bands still recording in a raw, honest way. Pro Tools had not become the massive force it is now and there was still a lot of recording to tape. Bands were pushing what they could do. Soundgarden went from being sludgy and grungy to doing Superunknown, which had those qualities but would now probably be tagged progressive. Those songs ebb and flow. You have long lingering moments then something like Mailman which is short and nasty.
Alice in Chains went against all received wisdom. You had Facelift which is almost hair metal once removed and then Dirt which people see as the quintessential grunge sound, although I do not think grunge is easily pinned down. Then, they decided to record an acoustic EP. It is amazing their label let them do it and amazing they had the spirit to do it. It was amazing the fans embraced it and it shot to the top of the charts. Nirvana reversed course. Bleach is an amazing debut. Nevermind is slick. Then they produced something so abrasive that someone thought releasing Rape Me as a single was a good idea. Pearl Jam reversed course too. Ten is slick and very early 1990s. Then they made Vs. and Vitalogy which are darker, weirder records. Bands were less pushed by what they should be doing. There was still major label pressure but bands were able to push back.
You can see it in Pearl Jam, Screaming Trees, Nirvana, Sonic Youth, Melvins. They were all on major labels but they did not bow to commercial expectations. They did mad things. Neil Young too. Sleeps with Angels is one of my favourite albums of all time, released in 1994 and referencing Kurt's death. It has stunning songs like Driveby. You had artists doing commercially odd things. Today, you see bands with a set arc and if they deviate, they get hammered by fans on message boards. Their social media becomes chaos. It is attributed to Neil Young that great art is giving people what they need, not what they want. Most of the bands I love gave me records I did not know I wanted. Screaming Trees’ Dust is a perfect example. I bought it as a teen expecting a psychedelic Soundgarden or Smashing Pumpkins thing because of a sticker on the front. Took it home, put it on, heard this gospel psychedelic thing I was not prepared for, threw it aside and put Soundgarden back on. But in those days, you went back to albums because you had spent all your money on them. A couple of weeks later, when the marketing expectations had faded, I put it on again and could not work out what I had missed the first time. It became one of my top ten albums of all time. The production, the playing, Lanegan’s voice, Barrett Martin’s innovative percussion, all of it. But it did not fit with Nearly Lost You. It was an outrider. It is amazing they were on Sony and had the artistic licence to do that.
Bands like Nirvana, Alice in Chains, Mudhoney, Melvins, Pearl Jam, Screaming Trees, Sonic Youth, and Swans managed to put themselves in a position where art stayed at the fore. That is important. With this EP, I do not know who is going to listen to it. The reaction has been positive and a lot of people who grew up in the nineties feel the same yearning for those digressions. But you can never judge what the listener will like. I could write the same record as last time and everyone could hate it. All I can do is be true to what I want from bands and from music. That is what I was trying to get at with this EP. The idea of going back to go forward. I wanted to explore where we started because those days were fun.
Hotel Hobbies: One thing that stands out is the lyrical side of the EP. The lyrics could apply to either time. They work as well now as they would have done in 1994.
Phil Stiles: Thank you. I think that is true of the bands we just talked about and a lot of the bands I like. There are bands where lyrics date and that usually happens when they point to a specific trend or call out something of the moment. If someone sees a Sonic Youth album with a Smash the PMRC logo and knows their history, they will think it is cool; otherwise it is confusing. Not that Sonic Youth lyrics date but that is an example of how easily it can happen. Ideas of communication and dealing with issues in a way that is cathartic, sometimes dark but not hopeless, can be timeless. The lyrics for Narcissist and Instant Fix have been tweaked slightly but are essentially the same as ten or fifteen years ago. The lyrics to Woke are recent and deliberately provocative. The term will date the song a little but the thrust will not. Playing Games is something everyone can relate to, whether it is a family member, friend or loved one who plays games with our emotions or sensibilities. These things are not time bound. If you listen to Dirt or Vitalogy or Sleeps with Angels, the concepts those artists explored are universal. If you listen to blues or Muddy Waters, you are hearing a voice from the early 1900s but it could just as easily speak to a kid sat in their bedroom now.
Hotel Hobbies: Could you talk a little more about Graham Hopkins playing drums on the EP. I know you highly rate Therapy?’s album Semi-Detached. What is it about his drumming and that period of Therapy? that made you think he could bring something special to your music?
Phil Stiles: Therapy? are one of the all time great alternative rock bands - if I can say that without people throwing things at me - certainly from the UK. Their music went through a lot of different iterations. I really love Troublegum and Nurse as a lot of people do but I think I came to them a bit too late. I was too enthralled with Nirvana and Alice in Chains to think too carefully about what Therapy? did. They were a band where I heard the singles and liked them but I was not as in love with them as I was with the grunge era. The thing about Semi-Detached is that it is a really dark, unusual album. It is another example of a band doing a remarkable shift. People talk about Infernal Love being a big change and it was, with those ambient interludes, but when Graham Hopkins came in he had a very distinctive drumming style. It is post-hardcore. If you listen to what he is doing there are hints of Helmet and Fugazi that were not there before. No disrespect to Therapy? or their previous drummer but Graham brought something very interesting to me at that time in my life. I had just got into Fugazi. So when Semi-Detached came out, it was immediately interesting to me. There is stuff like Tightrope Walker and the final song is lovely, slow, meandering, a beautiful song. You take all these bits together and you have an album that is unique in their catalogue and a large part of that is Graham Hopkins’ drumming. Alongside his rhythmic sensibilities there is also the sound which is quite unique.
On the EP, you will notice a distorted edge to the drums. That is not my production. It is a special microphone Graham has in his arsenal that gives it this dirty industrial vibe. That was exciting. It is the same way we landed on Russ Russell. We were listening to Semi-Detached. I have it on vinyl and CD. It sounds absolutely amazing. It started with, I wonder who produced this and could we get that producer, no, probably not. Then it became, well, we do not have a drummer at the moment, what about reaching out to the drummer from Therapy? to ask if he might be interested. Once I get an idea like that in my head, usually after a couple of glasses of whisky, it doesn’t shift. So I sent an email before my real brain kicked in and said no. I got a nice email back saying yeah, I am interested. Then I thought, what do I do now (laughing)?
At that point I had two and a half songs done. Those two were demoed and Woke was half finished and Playing Games was not finished at all. So between getting his email and replying, I had to nail it all down. I basically finished the EP and sent it to him. It was one of those amazing things that seems to happen to us. We jump in where angels fear to tread, the result is positive and then we have to make it good. I then spent six months teaching myself to produce it to a standard I was happy with. So poor Graham did not hear anything from us between June and December because I was sat there thinking, I need to do an EQ course now. I was doing eight hour EQ courses online to work out what I was doing wrong. It was a labour of love and intensely frustrating. I think Jola heard about forty different versions of the EP. And because I am old fashioned I was burning them to CD, so there is a pile of dead CDs downstairs. They will make good bird scarers when we plant vegetables!
Hotel Hobbies: So looking forward, what is the timescale for album number four?
Phil Stiles: The fourth album is written. The drums are done. We have another amazing remote drummer who tracked in LA. I am not going to give away who it is because I suspect management would track me down and hit me with a wiffle bat. We will be back in the studio with Russ Russell. I am very pleased about that because he is a huge part of why the third album turned out the way it did. That will be in June and July. We have the sessions booked. We will mix in July and August. Then we will look for the best medium to release it, whether in house, with a label or through distribution. I do not know yet. That is up for grabs. And literally as of today, we are booking a short run in Europe in early 2027. I would hope the album would be late this year or early next year. But it may be that we go out and do the EU run then come back to release. I do not know. But certainly we will have the album in the can by the end of summer.
Hotel Hobbies: Thinking about your own history and that of the band, what do you think the most valuable lesson you have learned as a musician?
Phil Stiles: Probably the most valuable lesson I learned is to let go of what you think other people think you should do. The problem for a lot of musicians, myself included, is that good reviews are great but usually your insecurity will niggle at you and make you wonder if they are genuinely meant. Bad reviews sting and can put you in a flat spin if you allow it. The first couple of EPs scared the hell out of me. I realised that if we were going to carry on and avoid a nervous breakdown, I was going to have to divorce myself from what I thought other people expected from me or the band. If you try to do what people want you will annoy them. If you deliberately flaunt their expectations you will annoy them. The only thing you can do is make music that means something to you. Then it does not matter. Persistence of Memory or any of the albums or this EP could have got zero reviews, could never be released, could sell nothing but I would still have this little disc I am proud of. I got to work with Graham Hopkins. I got to learn to produce and master something myself. I will look back and think I am glad I spent that time doing it.
If, on the other hand, I wrote it to appease someone out there and they did not like it, my sense of self would shatter and I would be left with something that was not me. A compromise. So the best lesson I have learned is that you have to let go of all that and focus on making something you love that you are proud of and that is fun. I hope one of the things you can hear on the 1994 EP is that we had a lot of fun doing it and throwing those songs together. You can hear when a band is bored. It is not signposted in neon but you sense it in the recording when it is not what they wanted to do. Music is communication in its purest form when it is done without external concerns. I believe that. It is an art form and unsung. It is too often treated as background but it is something special and beautiful and should not be abused.
Hotel Hobbies: Thank you so much for your time. It has been great to speak with you and find out more about the band past, present and future.
Phil Stiles: It has been great. I appreciate the questions.
1994 is released on 27th March 2026
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