While it’s far from a hot take, it needs to be emphasised just how much of a great place Irish alternative music is in right now, from cutting edge acts such as Just Mustard and Gilla Band to folk channelers Lankum and The Mary Wallopers to world-beaters Fontaines D.C.. Over the past decade, its tangle of scenes has produced consistently interesting, exciting and progressive prospects. A swathe of bands are also pushing post-punk and noise-rock into daring, yet accessible realms, among them Gurriers, NewDad and the intense Dublin four-piece Sprints.
Although their debut full-length ‘Letter To Self’ was released just 18 months ago, Sprints are back with their new album ‘All That Is Over’. This is a deeper, darker and better effort from a relentless band, one that cracks open their gloomy imaginations to uncover all sorts of inventive surprises.
Amid tracks about Dante’s Inferno and the sometimes dystopic state of the world today, moments of hope and humanist compassion burst through the mire, like resplendent trees growing out of the scorched ash. Here, vocalist and guitarist Karla Chubb talks us through Sprints’ current hot streak, as well as literary influences, working with Gilla Band’s Dan Fox and her highlights from a busy summer of gigs and festivals.
What has motivated you guys to put together this new album in such a relatively short period of time?
“To be honest, it came quite easily. Between the 103 dates we played for the [previous] album and Colm [O’Reilly, guitar] leaving the band, we had enough material. It was very organic and serendipitous. We were four friends, on the road, playing all these new cities and, often, the only free time we’d have during the day would be during soundcheck. We’d just make some noise.”
You did 103 shows touring your debut?
“We did 103 shows last year. We hit the ground running, pun intended. By the time we reached December we realised that we’d done a lot and had a lot of material. There was no external pressure, it was entirely us. We had the music and we wanted to keep moving and growing.”
When you’re touring that much and you don’t have a lot of free time, how do you deal with burnout?
“I’m lucky that I’m very hyperactive and have ADHD. The main thing we learned last year was that there are many parts of our identities, beyond just being musicians. It can be easy to forget those, being on tour. Getting back in touch with things like running, for the guys, and reading and journalling, for me. Those hobbies helped us stay in touch with ourselves and take care of each other.”
I love the production style of this album — I could tell it was Dan Fox before even reading the credits. What was your thinking with pursuing this, to my ears anyway, more stylised and less natural sound?
“I think it was a natural consequence of the stuff we were listening to. I was listening to a lot of ambient stuff while on the road last year, as well as some more modern influences like Viagra Boys and Mannequin Pussy. I think the world we wanted to build is more intentional and atmospheric but not filled with noise. Dan Fox’s work crosses all genres, so it felt like a perfect partnership.”
To what degree does the finished article that is this album resemble or not resemble the thing you imagined when writing and recording it?
“We’re happy with it. It represents what we’re trying to achieve, it’s moody, atmospheric and melancholic. But there’s also an undertone of hope. Some of the observations we got a lot last year was that it was angry and bleak. But there’s enough darkness in the world now, so we wanted to make something that was more of a call to arms.”
That reminds me of Chat Pile. When I spoke to them they explained how on their debut album they wanted to change people’s idea of them as being nihilistic, so they came up with a very humanist work.
“I love Chat Pile. Yeah, that’s exactly what we were going for as well. It’s easy to fall into nihilism, there’s a lot to be angry and disillusioned about and we try to hit that head on. But there’s a lot to be hopeful about and things like the arts and empathy can get us in touch with our humanity.”
I read that some lyrics here were taken from a Rachel Cusk novel. What other non-musical sources such as books or films influenced this album?
“Definitely lots of books. Poetry by Mary Oliver and Maya Angelou, books by Octavia Butler, lots of dystopian fiction. Video games too: The Last Of Us, Fallout: New Vegas, that was a big one. The cowboy swagger of the music was something we wanted to bring in.”
‘Dystopia’ and our current cultural and social feelings around it seem to play a big part in this album. How do some of the tracks tackle this?
“Rage is a big one. It looks at politicians pointing fingers at migrants, or the executive order in the US banning trans people using public restrooms: we all know there are much bigger issues at play. The billionaires are getting richer and the poor and getting poorer. Descartes and Beg also deal with this, the idea that those in power preach a moral code but they’re the ones committing the greatest atrocities.”
The Dante’s Inferno-referencing Adandon is such a striking opening. I interpreted it as a descent into darkness.
“Absolutely. This album, more than the first, is crafted like a book. It has a beginning, middle and end. I felt like, because our sound is progressing, we almost needed a re-introduction or a prologue. I wanted people to know what to expect, but also feel like a full circle. The beginning and end is a descent into madness, but [closing track] Desire is a love song about community and barrelling head first into love.”
This is a bit of a U-turn but I wanted to ask about your home country. There’s so much interesting indie-rock coming out of Ireland. Have you got any thoughts on how, or maybe why, this boom has happened?
“Honestly, it’s hard to quantify why. I do genuinely think that it’s because we’re finally stepping into our identity, we’re leaving behind our colonial era and people are now happy to fully embrace Irish identity. There’s great writers, filmmakers, poets, as well as Lankum and Fontaines. However, Dublin is still struggling, like other major cities, with things like house prices and poverty. But we’re all very proud of our country.”
One more U-turn. You’ve had this busy summer of shows and festivals, is there anything that’s really stood out for you as a favourite moment?
“Glastonbury was a big one, obviously. You watch it all your life and then to get a televised slot was amazing. But I’m going to say supporting Idles. We supported them in Halifax, Cardiff and out in Greece. I love them and I always wanted to support them. Joe Talbot knows me by my first name and I just think that’s mad. You have to sometimes remind yourself that if the me of 10 years ago saw what I was doing now, they’d be dead proud.”
Sprints’ ‘All That Is Over’ is out now through City Slang/Sub Pop.
Sprints Upcoming Tour Dates are as follows:
Sun October 19 2025 - PARIS Le Temps Machine (France)
Tue October 21 2025 - NIMES Paloma (France)
Wed October 22 2025 - LYON LE MARCHE GARE (France)
Sun November 02 2025 - BELFAST Empire Music Hall
Wed November 05 2025 - HUDDERSFIELD Parish
Thu November 06 2025 - GLASGOW SWG3 Galvanizers Yard
Fri November 07 2025 - LEEDS Leeds Beckett Students Union
Sat November 08 2025 - MANCHESTER Albert Hall
Mon November 10 2025 - NEWCASTLE UPON TYNE Newcastle University Students Union
Tue November 11 2025 - SHEFFIELD Foundry-Sheff Uni
Wed November 12 2025 - NOTTINGHAM Rock City
Fri November 14 2025 - LONDON Troxy
Sat November 15 2025 - BRISTOL O2 Academy Bristol
Mon November 17 2025 - SOUTHAMPTON 1865
Tue November 18 2025 - OXFORD O2 Academy Oxford
Thu November 20 2025 - DUBLIN Vicar Street
Wed January 28 2026 - MINNEAPOLIS Minnesota - 7th Street Entry at First Avenue - Complex (USA)
Fri January 30 2026 - HAMTRAMCK Michigan - Sanctuary Detroit (USA)
Sun February 01 2026 - TORONTO Ontario - Longboat Hall at The Great Hall - Complex (Canada)
Tue February 03 2026 - CAMBRIDGE MA Massachusetts - Sinclair (USA)
Thu February 05 2026 - NEW YORK New York - Bowery Ballroom (USA)
Fri February 06 2026 - WASHINGTON District of Columbia - Atlantis (USA)
Sat February 07 2026 - PHILADELPHIA Pensylvannia - Johnny Brendas (USA)
Tue February 10 2026 - LOS ANGELES California - Roxy Theatre Los Angeles (USA)
Wed February 11 2026 - SAN FRANCISCO California - Chapel San Francisco (USA)
Fri February 13 2026 - PORTLAND Oregon - Mission Theatre (USA)
Sat February 14 2026 - SEATTLE Washington - Crocodile Seattle - Complex (USA)
Tue March 10 2026 - TOURCOING Le Grand Mix (France)
Wed March 11 2026 - BRUSSELLS Le Botanique (Belgium)
Thu March 12 2026 - AMSTERDAM Melkweg (Netherlands)
Sat March 14 2026 - COLOGNE Die Kantine (Germany)
Sun March 15 2026 - HAMBURG Uebel and Gefahrlich (Germany)
Tue March 17 2026 - COPENHAGEN Loppen (Denmark)
Wed March 18 2026 - BERLIN Metropol (Germany)
Fri March 20 2026 - WARSAW Voodoo Club (Poland)
Sat March 21 2026 - PRAGUE Palác Akropolis (Czech Republic)
Sun March 22 2026 - MUNICH Storm (Germany)
Tue March 24 2026 - ZURICH Bogen F (Switzerland)
Wed March 25 2026 - MILAN Circolo Arci Bellezza (Italy)
Sat March 28 2026 - PARIS CABARET SAUVAGE (France)
Sun March 29 2026 - LUXEMBOURG CITY DEN ATELIER (Luxembourg)
Tue March 31 2026 - MUNSTER Skaters Palace Cafe (Germany)
Wed April 01 2026 - WIESBADEN Schlachthof (Germany)
Thu April 02 2026 - SCHORNDORF Club Manufaktur (Germany)
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