Holy Scum, progenitors/agitators of some of the most visceral and compelling experimental noise released in recent years, decided to take a pilgrimage to the Scottish Outer Hebrides for the recording of their second album proper on Rocket Recordings, All We Have Is Never.
Where their 2022 debut, Strange Desires, had been largely centred around years of improvised sessions being sent to American-based vocalist and producer Mike Mare (Dälek), the pathway to this new record involved a more organic approach. Frustrated by the physical and logistical challenges that had kept the band from collaborating, the decision was made to hole themselves up at Black Bay Studios on Great Bernera, a two hour plus ferry ride from anywhere and everywhere.
“Our isolation there was our salvation, and a much-needed cleanse after a year of relentless misfortune,” explains the band’s Peter Taylor. “This new record evolved from years of jams, developed collaboratively with Mike in the studio, but the period preceding this album was a true nightmare. We endured an eleven-month limbo. We were paralysed, unable to release music, replenish sold-out merchandise, or even perform live.”
Jamming, writing and recording together as a five-piece band for the first time, Holy Scum’s newly formed hive-mind helped produce their most focused work yet amidst these tranquil surroundings.
Despite describing the Holy Scum approach as ‘No riffs’, Taylor’s playful observation belies the band’s ability to carve abstractions and minimalism into monolithic and ominous shapes. Tighter, punchier songs were made manifest and honed down into lean, vicious blasts of sound and fury. With the vice-like rhythm section of John Perry and Chris Haslam (both of GNOD) focusing the assault, and recently recruited guitarist Al Wilson (Ghold/Shuck) providing crucial ballast – Taylor was left to “go off Pete-st’” as Haslam puts it – resulting in a record that is both the catchy and unforgiving. From the feverish guitar scree that underpins ‘Thieves’ to the vital charge of ‘I Am The Land’, the music here is as analogous to the ballsy kinetics of Fugazi as it is the overcast catharsis of Killing Joke and Voivod.
“On that island you could feel the energy of the land, you could feel its past. This record is about moving forward, letting go, being grounded in yourself and with the earth,” reflects Mare. “The title is a nod to the fact that everything ends – good, bad, ugly, beautiful. That it’s not a bad thing. It is a rebirth every time. We can spend a lifetime together having shared experiences but living separate realities.”
“I don’t think it is nihilistic,” he adds. “The despair turns into hope for sure.”
All We Have Is Never was released worldwide on 6th June 2025 and can be ordered via Rocket Recordings here.
We asked Holy Scum about some of their musical influences, which you can read below…
Glenn Branca – Branca Ensemble Live At The Kitchen
Pete – When it comes to influences behind our guitar tone, Glenn Branca stands out. Especially his later symphonic works and the sounds he achieved with guitar ensembles. The early goal was to emulate this and blend it with the style of Arab on Radar. Branca is arguably the primary influence on our desired guitar sound and overall vibe I think. Symphony Nos. 8 and 10 (The Mysteries) are the most divisive to listen to in the van, in particular.
Melvins – (A) Senile Animal
Jon – Melvin’s have been my favourite band for about twenty years now. Their work ethic is most inspiring, constantly touring and putting out new music, fearless and don’t give a shit what anyone thinks. I picked this tune – ‘A History of Drunks’ – because it’s a pure pop song with a great hook, but still heavy as hell.
The Cure – Disintegration
Mike – The Cure has influenced everything I do musically more than any other artist, every song is a sonic lullaby and this from 1989’s Disintegration album is no different. I try to incorporate their influence into Holy Scum at every given opportunity.
