Last year, we had the pleasure of connecting with the Anglesey-based band Dying Habit over their genre-blending rock single ‘Three Letter View’, which was released in the lead up to their album. Now that very same record is out in the world and we’re back chatting with our favourite Welsh quartet to find out what sets There Is No Sky apart. As you’ll hear, the group continue to channel the spirit of ’90s alt-rock with a bold emotional urgency. It’s clear that Dying Habit aren’t staying within the lines, whether that be of the rock genre or their own sound; it’s all about refining rather than reinventing. That process is only possible thanks to the band members’ undeniable chemistry, as well as hard graft tightening up their songs through continual rehearsal and live shows. On the whole, There Is No Sky reflects on themes of flow, atmosphere, grit, tension, identity and raw feeling. For On The Record, we asked Dying Habit about the slow-burn evolution behind their newest album, making music together and what’s next for project.
Welcome back to Unrecorded! Since our last interview in June 2025, what have Dying Habit been up to?
Since we last spoke, we’ve released a couple more singles and played a handful of shows. It’s been a relatively quiet period overall, though — we actually finished the album nearly a year ago. Having that space has been refreshing. It’s given us time to focus on tightening up the live side of things and to recharge creatively before this next chapter.
Congratulations on the release of your new album! The title hints at the natural world but also feels slightly supernatural. How does that imagery reflect the concept of the record?
It’s definitely a title that’s open to interpretation — you can take it in a positive or negative way. That duality really mirrors the album itself. The songs explore both light and dark spaces, hope and uncertainty, so the imagery feels like a natural extension of that balance.
In our last interview, you described this album as having “better flow and togetherness” than your previous releases. How does that manifest on the record?
We went into the studio extremely well rehearsed, which made the recording process smooth and focused. Working with Russ again helped too — we already had a shared understanding of how we wanted the record to sound.
The songs complement each other more cohesively this time. There are shorter tracks, longer pieces, quieter moments and heavier sections, but everything has been carefully sequenced. A lot of thought went into the running order, so it feels like a complete listening experience rather than just a collection of songs.
How did working again with Russ Hayes shape the album’s production and atmosphere?
Russ is brilliant at helping us realise the sound we hear in our heads, rather than chasing trends or adding flashy production for the sake of it. That approach creates a relaxed studio environment where we’re encouraged to experiment — to try different parts, textures and ideas — and let things evolve naturally. It’s always a genuinely collaborative experience.
Were there any recording tricks, limitations, or happy accidents that helped define the sound of the LP?
There were definitely a few happy accidents. Even though we knew the songs inside out, we left space for improvisation — especially in intros, outros, vocal harmonies and guitar leads.
The only real limitation we set ourselves was to keep the sound organic and close to our live energy. We didn’t want the record to feel overly polished or disconnected from how we actually play. That rawness is a big part of who we are.
One of the stand-out tracks is the six-minute epic ‘Centuries’. What made you confident enough to let it breathe rather than trim it down?
‘Centuries’ was always going to be a defining moment on the record. It’s anthemic, with a bit of theatre to it. Interestingly, it started out shorter, but it evolved as we played it live. Over time, it became more of a journey — something that moves through distinct phases rather than following a traditional structure.
We’re strict about making sure every section earns its place, so having two six-minute tracks on the album wasn’t planned. But sometimes the music needs space, and you have to let it go where it wants to go.
Another favourite is ‘Run to the Beehive’, which pulses with urgency and aggression. What’s the story behind it?
Sometimes it’s good to just let rip, and that’s exactly what happened with ‘Run to the Beehive’. Rhythm and energy are at the heart of our best work, and this track really captures that.
It took some experimentation to get it right, but that sense of urgency and aggression is what gives it its character. It’s also an absolute blast to play live.
Closing track ‘Divulsion’ leaves things on a sombre, unresolved note. What impression did you want to leave listeners with?
‘Divulsion’ feels like the perfect ending. It’s a song built on intrigue — both lyrically and musically. As music fans and creatives, imagination and curiosity are what drive us. There’s never really a full stop — we’re always exploring, learning, wondering what comes next.
Ending the album with more questions than answers felt right. It keeps that sense of wonder alive.
What do you hope listeners take away from the album as a whole?
We want to show that songwriting — and genuinely connecting with people through music — should never be taken lightly. It’s not always the easiest path, but it’s the most rewarding.
Across these 11 songs, there’s something for every generation of rock fan. It’s a blend of everything we love, and hopefully listeners will feel the same excitement and enjoyment we felt making it.
Following the LP’s release, what’s next for Dying Habit?
We’re already writing new material and looking ahead to the next chapter. At the same time, we’ll be out playing shows over the coming months. Keep an eye on our socials — and if you like what you hear, help us spread the word.
You can also listen to album track ‘Run to the Beehive’ in our Indie Rockers playlist.
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