Introducing: thredd

Thredd didn’t mean to start a band. But after a few pressure-free weeks in the warren-like basement of West London’s Laylow — where three solo artists met, jammed, and played to live crowds on Wednesdays — something stuck. The result? A debut EP that hums with immediacy, heart, and atmospheric weirdness. It’s Lovely, Come On In isn’t just a title; it’s a mood, an invitation, a shrug against perfectionism.

Comprising producer-drummer Will Lister, classically trained synth-sculptor Max Winter, and vocal alchemist Imogen (of Imogen and The Knife), Thredd blends chilly textures and warm instincts into what they call “cold pop” — think euphoric electronics one minute, late-night heartbreak the next. With their lead single Party out July 16 and the full EP landing August 14 via Scenic Route, we caught up with the trio to talk fatigue, freedom, and finding beauty in the mess.

You describe your sound as "cold pop." Can you talk us through what that term means to you and how it shaped the creative process behind It's Lovely, Come On In?  

[WL] There's something really satisfying about making something short and sweet that  communicates its intention directly. That is what pop music is for us, songs that are razorsharp in  their intention. The term 'cold-pop' was something that Big Jeff of Bristol fame actually said about  us at a Bristol show we played last year, and we couldn't really think of anything better to describe  it. 

[MW] For me personally a lot of my practice is rooted in experimental music. I like long form  improvisation as a way of composing and tend to lean more towards that way of writing. However, in recent years I have found myself get back into songwriting. This could be from  collaborating more with Will and Immy and just being around more songwriters. The residency  seemed like a good opportunity to dig into that process alongside them both. The first week  definitely felt more 'long form' and 'improvisatory' but by week 2 & 3 there was a conscious effort  to refine ideas and keep them concise. 

The album came out of an unusually fast, instinctive process-writing songs to perform each week with no room to overthink. How did working at that pace affect your songwriting and collaboration as a trio? 

[WL] Having shared a studio space for the past 5 years and all being somewhat involved in each  other's music, we had definitely built up ideas of how we work together a long time before doing it  in a more directly collaborative way. The immediacy of the residency and lack of time to polish  ideas meant we all had to allow each other to be honest about any ideas that came up, and not  become too attached. 

[MW] It definitely reduces time to make decisions, which helped a lot. I think working that fast to  get the initial ideas out was really beneficial. We had every idea within the first 3 days, be it just a  chord sequence or melody. But beyond that we actually spent a lot of time on each track  individually, giving it care and attention. 

[IATK] The most satisfying thing about this project for me is that it’s so clear it couldn’t have come  about without the years of time and graft we have individually and collectively spent in music;  sharing a studio, collaborating on our solo ventures, knowing each other. It’s a really good advert  for getting older. I guess in a that, philosophical, sense, the record was years in the making.  

You've each brought distinct strengths to the project—production, harmony, and lyricism. How did those roles evolve as you moved from live performance into recording a full album?  

[WL] I think those roles are loose definitions of what we all bring to the project. Everything is  filtered through each other and we all have a say in how things sound and the writing process  There wasn't much change from live performance into recording the full album as the album is still  very raw in the way it's been recorded and produced. 

[MW] Yeah I guess the way they evolved was us also switching into each others roles. Even  though those elements are maybe our initial individual strengths, it gave us all confidence to do  those too. 

[IATK] Laylow had a studio upstairs so we were recording a lot of ideas as we were going.  Performance informed the recording, recording informed the performance. There wasn’t much of  a separation which I think is what makes the record what it is. Everything, including us, evolved as  one.  

There's a real emotional range on the record-from the euphoric rush of 'Party' to the vulnerability of 'Funny Girl'. How important was it to reflect both the highs and lows of that time in the music? 

[MW] I'm not sure it was a conscious decision, but I am glad it is reflected. A residency is an  amazing thing and we are so grateful for the opportunity, but it didn't come without its challenges.  I think the natural ebb and flow of an intense period of writing and performing brings out all kinds  of emotions, and I think naturally it just spilled out into the music. 

[IATK] At the time we didn’t know we were making a collective project, we were just writing. So  naturally it’s an album full of all our individual and combined strengths and the range in tracks  reflects that. It’s in my DNA to write vulnerable, honest ballads that could be sang just at the  piano, it’s in Will’s to create beat and atmosphere driven club tracks, it’s in Max’s to be beautifully  experimental. That’s the record ! 

The album feels very rooted in a specific space and moment. Now that you're taking it on tour, how do you translate that intimate, late-night energy for a live audience? 

[WL] Its lovely, come on on in. 

[IATK] Luckily it was written in a basement venue!