There is a kind of shine running through “All That’s Left” that lands somewhere between shoegaze blur, alternative rock weight, and the more spacious end of nu metal – that old pull of huge bass tones, blown-out mood, and open air around the guitars that made a lot of heavy bands from twenty-odd years ago feel strangely massive without needing to rush.
For Tangled In Wires, that space is not decoration. The Sydney band’s debut EP is built as a single, continuous story, following a young person carrying the weight of childhood trauma, moving through self-blame, apology, acceptance, and the first wound that refuses to disappear.
“All That’s Left” is out now, recorded at Defwolf Studios and produced, mixed, and mastered by Daniel Malesev of Antix. The band kept the writing and recording lean, choosing feel over extra parts.
“We made a conscious effort not to overcomplicate things,” Tangled In Wires explain. “Whatever came out on the day, we committed to — making only minor additions or cuts where necessary. Without really planning it, the songs ended up fitting together like pieces of a puzzle.”
The EP has already picked up spins on Triple J Unearthed’s “In The Pit” and SYN Media’s “The Hoist,” with the video for “Desired Abuse” also out now on YouTube.
The band have been placed near Thrice, Gallows, and La Dispute, and have joked about being “Deftones from Temu,” which is not a bad shorthand for the bruised self-awareness in the music. The deeper roots are less tidy. Khava points to years of watching bands in local venues and at festivals, especially the ones with huge overdriven, drop-tuned bass sounds.
“When I think about tones that influenced my own setup and approach, bands like Tool, Helmet, Deftones come to mind,” Khava says. “We wanted the music to make people feel something. A lot of the music we listen to leaves a weight behind after listening, and that’s something we wanted to carry into this EP.”
For Liam, the EP came out of returning to music after years away from it.
“The whole experience of recording the EP was a process of reconnecting with music again after walking away from it for years,” he says. “A lot of the inspiration came from travelling for the first time and getting a fresh perspective on what was actually important to me. I think that energy really comes through in the heavier moments of the EP at that time, nothing else mattered and everything outside of the music could honestly get fucked haha. I was definitely influenced by bands like Loathe, Currents and Thornhill when we first started jamming these songs out.”
Dylan traces part of it back to seeing Void Of Vision and Diamond Construct in 2020.
“Seeing Void Of Vision and Diamond Construct back in 2020 showed me what the Australian metal scene was really about — raw energy, packed rooms, and heavy music that actually felt alive,” he says. “That period influences the way I play music today.”
The writing does not treat trauma as atmosphere. It follows a sequence.
“Desired Abuse” looks back through the mind of someone convinced they deserved what happened to them. Even with a sense that something was wrong, the person inside the song still believes the burden belongs to them. Beneath the self-hatred, there is a small refusal to disappear completely.
“My Young Friend” turns into an apology to the younger self, written from the realisation that survival did not come with the right tools. It sits somewhere between grief and instruction: listen, hold on, stay here when everything gets too loud.
“Breathe” is where the record accepts that the past will not be repaired cleanly. Therapy, love, growth, and the basic act of getting out of bed can all help, but the song is less about being fixed than learning to live beside pain without letting it run every room.
“All That’s Left” closes on the first wound. Monty describes it as the exact moment that still haunts dreams and shapes the fears that followed — “the moment the light dimmed, the moment the feeling of being a burden truly began.” The final line, “look what’s left,” does not offer release. It points at the aftermath and leaves it there.
“For us, ‘All That’s Left’ is the olive branch reached out to our younger selves,” the band say.
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The video for “Desired Abuse” was made with Milo, with the band leaving the visual direction in his hands.
“Working with Milo was great, it didn’t take long to get what was needed,” Tangled In Wires say. “We left it in his hands and are stoked with the outcome. Was a pleasure to work with such a professional.”
“I wanted to give the music a visual platform that reflected the intensity and mood of the music without getting in the way of the music or becoming the focus,” Milo says. “I like music videos where the music remains the hero.”
“All That’s Left” is out now. Follow Tangled In Wires on Instagram at tangled.in.wires, Facebook at Tangled In Wires Official, and YouTube through their official channel.
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