Introducing: Bug Teeth

Leeds-based shape-shifters Bug Teeth emerge from the shadows with ‘Topiary’ — a searing new single that cuts through grief with psych-rock grandeur and dream-pop elegance. Their first release in over a year, it lands ahead of a run of headline UK dates, including a triumphant homecoming at Brudenell Social Club on 1st June.

Produced by Joel Patchett (King Krule, The Orielles), ‘Topiary’ marks a bold step forward for the five-piece, revealing the raw, raucous edge behind their ethereal soundscapes — and offering a deeply personal reflection from front-person PJ Johnson on love, loss, and transformation.

1. "Topiary" captures a powerful tension between raw abrasion and fragile beauty—what was driving that emotional contrast when you wrote and recorded the track?

PJ: Since writing our single Landscaping, every song we’ve produced has been about grief. Topiary specifically is about ageing and a more natural end, so I wanted each texture to lend itself either to the harshness of grief or the beauty of it. This was my intention with the lyrics, too.

Sonny: Mr Krabs Voice I Like Loud

2. You’ve worked with Joel Patchett, who’s known for bringing out unique textures in artists like The Orielles and King Krule—how did his production shape the direction of this single?

PJ: Joel has been intrinsic to the direction of Topiary. Recording with him was such a treat - he helped us go further or pull back depending on what the song needed. The cello (by Lili Holland-Fricke) was his idea, and now it’s my favourite part of the song! When we recorded Landscaping, we wanted to throw everything we had at the track, and it’s incredibly full of texture. We wanted Topiary to rely more on our instrumentation than these textures, and I think we struck a great balance.

George: We’ve been making music together in some capacity since we were teenagers. Production is something we’ve always kept in the family, so this was the first time bringing in an outsider. We got in touch with Joel after hearing his work on The Orielles’ Tableau (which we really, really love) and the rest is history!

Some producers are there to sort of capture the moment. Joel really wades into the composition and arrangement which was initially scary - we’re quite precious - but it ended up becoming intrinsic to how we worked together. He’s open to experimenting but also knows where to leave space.

He has a brilliant, slightly spiritual vision of how we should write our music. He says things like, ‘you’re walking through the woods and the sun is shining and then BANG! A train comes roaring through a gap in the trees, ruining the peace and quiet’ as a way of saying a guitar part was too loud. It’s hard to imagine making those songs without him to be perfectly honest.

Sonny: We are all relatively inexperienced working with producers and outside influences. Whenever we have prolonged artistic intercourse with an outsider, we often become strangely attached, a conjoining rendered especially evident once we part after a few days of intense work together. We find ourselves missing the intimacy of someone in seemingly perfect control of their medium who can realise the abstractions of our words into tangible sonic abstractions. This happened the first time we worked with Joel and when Gladboy worked with Rob from Greenmount Studios. I believe that feeling is evidence that you're onto a winner.

Joel: I'm just happy to be a part of the process.

3. Your sound consistently walks the line between the ethereal and the heavy—how intentional is that balance, and what draws you to those extremes?

PJ: It’s definitely intentional. I leant much more towards dreaminess when Bug Teeth was a solo project, and in getting the band, I knew that I wanted to focus on heavier sounds - especially when performing live. It’s important to me that the ethereal side is still there as the driving force, as I think it’s what stands out in all our writing. Having that contrast has become our signature.

Sonny: I prefer a think less approach, whereby artistic epiphany is reached through chance and gesture. Improvisation and the bonds honed therein are incredibly important. When the subconscious can speak its truth is when, in my opinion, the most interesting things happen. Since we all occupy such different points in the wider musical universe outside of our time making music together, it makes for interesting results no matter what.

Regarding your question: in the Bug Teeth manifesto is contained the notion that between the twin poles of the ethereal and the heavy is all that is worth uttering. It just so happens that the subconscious wants what the conscious needs and vice versa.

4. As a vocal advocate for DIY and LGBTQ+ musicians, how does that ethos manifest in your work with Bug Teeth, both musically and behind the scenes?

PJ: Whilst I wouldn’t say that I’m writing every song with the intent to drive political action, it’s an unshakeable part of the band and us as individuals. We are incredibly proud to be a DIY band, and no matter where we end up, it’s important to champion artists like us - in marginalised communities and in need of support. The music industry is a big and scary place, and it’s something we often struggle to navigate. We’ve managed to get into the spaces we’re in because other bands have advocated for us, and we want to do the same.

5. With your tour wrapping up at the Brudenell Social Club, what does that homecoming gig in Leeds represent for you at this point in your journey?

PJ: We can’t believe it’s happening, really. Headlining the Brudenell! It’s a dream come true. As soon as we moved to Leeds, I was desperate for my chance to play it, and it feels so significant to headline at this stage of our career. We hope it’s not the last time, but it’s incredibly special nonetheless. 

Sonny: I hope people come. I'm a fiend for an early bedtime, especially on a school night. I know I would be retiring hard to my bed chambers and foregoing the headliner if it was myself on the other side of the great divide between spectacle and spectator. I hope our spectators are not comprised of somniphobes like myself. I hope everyone has a good time. If it was up to me, we would be playing earlier so that everyone could get a good night's sleep. It's important! I tend to get pretty darn depressed without it, particularly since I stopped drinking black tea (except as a treat on weekends). I sometimes wonder how beneficial a move this has really been for my psychosomatic health. Anyway: Brudenell = important. Have fun and stay safe or some shit.