Sex Cells manifest their love for the occult in the context of a digitally obsessed century. It feels like that preoccupation has always been in their music. Are you now consciously channelling it?
Sex Cells: You just get these odd little moments of magic that sometimes only start to make sense years down the line. We had this special moment down by the seashore at midnight, when we took a field recording of a vocal round and melody that’s been floating around in Sex Cells world for ages. It felt like putting something to rest, a good spell, hopefully making up for some of the bad magic we practised in Nightmare Hall, which is where it originated from. The occult exists within you and without you, so there’s nothing really consciously determined about it.
What do you mean Love Is The Exit, and how did you reach that conclusion?
Sex Cells: Hmmm … Let’s just say, we have a very sentimental relationship with Exit 8 at Oxford Circus.
You’ve had various changes of sound. Can you identify the different stages in your musical evolution and what prompted each subsequent change?
Sex Cells: Musical evolution sounds a little grandiose for a band who haven’t even released an album yet! We didn’t spend years locked in a rehearsal room perfecting our sound before unleashing it on the world, so all of our figuring-outs and experiments have been on quite public display.
Are you working on the next stage of your ever-evolving sound?
Sex Cells: Not sure what impetus is responsible for evolving our sound. Maybe it’s all the bidding of that sigil we planted in the floorboards of Nightmare Hall, and we’re just flesh puppets operating the machines.
See Sex Cells live: