From the opening moments of bitknot, it's obvious that Feeble Little Horse has found an entirely new gear. Where on Girl with Fish the blown-out textures were more '90s indie rock and shoegaze, on their latest LP, there's a more modern edge to the distortion and the riffs cut cleaner. Similarly, where the digital glitchiness was mostly relegated to window dressing on their sophomore record, on bitknot it's integral to the arrangements and a core part of their emerging, distinct sound.

We got a preview of this new direction on the one-off single, and one of my favorite songs of 2025, "This Is Real." It blended blast beats, Sonic Youth-esque …

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I draw the old way – with my hand. Doing it with AI would not make me more creative, it would drain the colour out of my existence

Last week I went to a gig by myself for the first time. I sat myself down in my single seat, possibly the youngest person in the room and one of thousands excited to see Split Enz. I loved it – I felt joy and heartache as the lyrics spoke of human experiences, really lived. I happily realised that I did not have to wonder whether Split Enz had used AI in their work (as I so often do nowadays) as these bangers were created long before it was even dreamed of.

As a visual artist and writer myself, when I see AI generated images, music or words presented as “art”, I see red. It’s boring, it’s theft, it’s soulless, sterile and it’s killing the planet through energy and water-guzzling datacentres. Someone suggested AI “visual art” should be called “Computer Rendered Artificial Pictures” (CRAP).