Emerging from London’s underground music scene, The Sick Man Of Europe is distinctly monochrome in its outlook. Each note counts in this climate – economical but played with absolute precision and conviction. Propelled forward by machines and seeking solace in repetition. The same fears. Looking for answers or something to believe in, but finding more questions in an age of absolutes. The Sick Man Of Europe demo tape arrived in a brown manila envelope accompanied by a short typewritten letter. Information was limited but what was clear, from the name, the imagery and typography, right through to the music – the project arrived almost fully formed. Minimal, but with a strong eye for the right detail. On the eponymous debut album, out now on The Leaf Label, that eye is focussed firmly on the battle between the internal and the external; the tensions between human identity, technological advancement and the pursuit of meaning in the modern world. The Sick Man Of Europe name connects the current post-Brexit landscape to the austerity of Thatcherite Britain and the social conditions that shaped the likes of Bauhaus and Joy Division. These are touchstones for TSMOE, but the influence and discipline of Neu!, Suicide and Swans are just as intrinsic to the sound. Produced as a reaction to previous musical projects, TSMOE was looking for clarity and complete control in its creative endeavours. It’s consciously anti-rock in its recorded approach – no low-end bass guitar, minimal effects and no live drums. Dedication to the craft of focussed song writing rather than attempting to follow current production trends.

What He Says: “Sanguine’ touches on the idea of ‘self-realisation’. It occupies those moments where the fever dream shatters and every possible action seems wrong. Wracked with doubt – can the body shift towards an alternative?“

“In a place of non-linear time, the human consciousness expects daily progression, but we often find ourselves repeating the same thoughts and actions. Through a rejection of societal demands and a reconnection with natural beauty, can we break the cyclical nature of our endeavours?”

“There’s nothing more human than the fear of the inevitable and we’re reminded of it everywhere we look. As the relentless pace of progress takes over, everything we’ve ever made is retired so quickly in the name of endless growth. At what point do we become obsolete?”

His Mixtape:

Klaus Nomi – Wasting My Time

The first time I heard this song, I stopped what I was doing immediately. I was in a bar and had to ask what it was. The whole piece hangs in a state of anticipation—it’s beautiful, minimal, and tense. There’s nothing else that sounds like Klaus Nomi. I later discovered his powerful and futuristic aesthetic, a true artistic fusion of fashion and music. He was a pioneering figure in the New York avant-garde music scene, but tragically died as a result of the AIDS epidemic in 1983.

Haruomi Hosono – Platonic / プラトニック

I find myself deeply drawn to Japanese pop. It’s a genre that draws heavily from the past, yet feels pioneering at the same time. Haruomi Hosono has explored a wide range of styles throughout his career, but his 1982 album Philharmony / フィルハーモニー stands out as a landmark release -both for him and in the broader evolution of electronic music. The track Platonic / プラトニック is especially striking, with its precise and mechanical polyrhythmic structure, beautifully interwoven with elements of traditional Japanese folk music. It’s a truly unique listening experience.

Gong Gong Gong 工工工 & Mong Tong – Escaping Encirclements

This track is another sonic collision of cultures, driven by a droning krautrock propulsion and perfectly adorned with Chinese folk melodies. It’s taken from the album Mongkok Duel / 旺角决, a collaboration between the Taiwanese duo Mong Tong and the Hong Kong/Montreal-based duo Gong Gong Gong. I don’t have the full details of the collaboration, but the result is an experimental and gritty urban soundtrack that feels perfectly synced to the pulse of a faceless, nameless city.

The Serfs – Suspension Bridge Collapse

I’ve been lucky enough to cross paths with members of this highly creative, Cincinnati-based music scene on a few occasions. I could have chosen any track from the many bands that seem to endlessly recycle the same members across this Ohio city. However, Suspension Bridge Collapse from The Serfs’ third album, Half Eaten By Dogs, feels especially fitting here. It’s cold and harsh -exactly what you’d want from an album that sounds like it could have emerged from the early industrial scene of the late ’70s. It builds beautifully, only to fall apart and dissolve, leaving me craving another ten minutes of those synth textures.

Cabaret Voltaire – Just Fascination (7” Version)

I don’t need to say too much about Cabaret Voltaire, but I find this period of their music in the early ’80s extremely alluring. It’s both transitional and pioneering—a moment when the experimental group was pivoting from industrial sounds toward an early form of dance music. That evolution is captured beautifully in this shorter 7” version.

Chico Buarque & Milton Nascimento – Cálice

Cálice was written during Brazil’s military dictatorship, using subtle puns and wordplay as a clever form of resistance. Though it was quickly banned, the song is now immortalised in the country’s rich musical history. Not only is it a beautiful composition -it also endures as a powerful reminder of the importance of protest and the dangers of censorship.

Bourbonese Qualk – Soft City

Bourbonese Qualk are incredibly underrated and influential in equal measure. Their highly experimental blend of post-punk and industrial music left a lasting mark in electronic music. The track Soft City is sparse and minimal, with a haunting violin that perfectly captures a sense of urban alienation and political dread.

Talk Talk – The Rainbow

I’m not sure if there are rules about putting nine-minute-long songs on these mixtapes, but I felt we needed a bit of a palate cleanser to wrap things up. I hate to use the word masterpiece, but it seems fitting when describing The Rainbow. Taken from Talk Talk’s seminal Spirit of Eden album, it’s a truly beautiful listen – structurally curious and layered with rich jazz and ambient textures. It’s the perfect way to end anything.

The Sick Man Of Europe is out now via The Leaf Label. Look HERE for more information on The Sick Man Of Europe.