Two miles high and rising: WUZY BAMBUSSY announce April long-player ‘The Ghost & The Rhythm’

THUS far criminally underrated Bristol-based duo WUZY BAMBUSSY enter 2026 teasing forthcoming The Ghost & The Rhythm album, along with focus track ‘Little Lion.’

Comprising songwriter, producer, multi-instrumentalist Nikolai Jones and vocalist Kat Harrison, along with contributions from guitarist Iggy Deverall and a host of co-conspirators, WUZY BAMBUSSY produce a sophisticated blend of electronica, funk, and a side of folk.

Comparisons to synth heavyweights Numan and the Human League are easily drawn, but scratch the surface and there’s also a feint, ‘Low’-era Bowie vibe vying for attention.

“I think Low is a great example of what I hope to achieve with Bambussy in regards to a blend of the organic and the electronic sound,” explained Jones. “In certain songs Low is very much a traditional band with synths, but the added layers synths are creating a real depth, atmosphere and style. But I love the fact that there’s whole instrumental swathes and the majority of the song can elapse before the vocal enters, that’s pretty brave.

“With our LP its format is very much in the three-minute pop song vein. Realistically the time constraints within that will limit experimentation. I do however love the epic soundtrack feel of Low, I hope we capture a similar atmosphere in places, that melancholic grandeur.”

“Probably Kate Bush is also a reference touchpoint?  For this first single ‘Little Lion’ I wanted to juxtapose like an olde world lyric that could’ve come from say a Brontë sister novel and sit that on a synth pop track. I would say both Kat and myself have old souls. It’s something we discussed when talking about the direction. We love the arcane and esoteric, Kat has that aura in her vocals, it’s intimate and conversational, yet there’s a liminal space that weaves through our shizzle.”

Jones earned his stripes having completed an extraordinary musical apprenticeship, living the full-on life of a road warrior, producer, and musician.

“In my pre Bambussy life I was a drummer.  I think a fair amount of producers were, it’s why the beats are fairly front and centre in our sound. I was the drummer in King Prawn who are a genre fluid punk band, I was a mainstay for their first five LPs – they’re still writing and touring.

“I loved the travel and the mind broadening sampling of different culture. Primarily I guess it taught me routine? It gave me a structure and responsibility that my life was sorely lacking. The whole day is about that evenings show so you discipline yourself accordingly. Back in the day I was a pretty big weed smoker, but soundcheck would be the cut-off point, and by the time we hit I was fully channelled with furious focus.

“I flitted between synths and keys from the ages of eleven to thirteen but then picked up a cheap drum kit with savings from a pre-school paper round. My influences even back then were all over the shop. I remember having an LP of proto-Hip Hop, breakdancing electro with stuff like Rockit by Herbie Hancock and just wearing that out. I loved rock and metal as a teen, which led on to US alternative rock with the likes of Jane’s Addiction, and Faith No More. Had a huge love of 2 Tone also, I’d say Dammers and The Specials were right up there in terms of influence.”

Before April’s album release, two more singles are planned, ‘By Candlelight’ and ‘Late Libation,’ both set to be, as usual, tirelessly promoted by Jones.

“I’m not great at the PR side and it’s far from a natural thing. As Bambussy is primarily a studio venture and not currently a project that’s built for live gigging, then realistically we have to do promo.  I think if you’re a gigging act then maybe the importance of promo isn’t as urgent. But then you need to do promo to let people know about your shows, so really either way it’s unavoidable.  

“I get that for many musicians their art is something they just do, that they have no choice and it’s an exorcism, that once it’s expunged they move on and plunge straight into the next body of work.  But I feel that I owe my songs an audience, I guess that I’d be short-changing them if I didn’t try and reach as many ears as possible, far too much love and work has been put in only for them to sink into a digital boggy morass!”

Connect with WUZY BAMBUSSY online HERE