The second record from the Bristol art-rockers, Back Into The Womb’s birth comes at a time when women are either treated as theapists, infants or as mere items to be used at the whim of men. It also arrives at a time when art, regardless of its medium, is being violated by dead-eyed industrialists in the pursuit of profits or nefarious projects. Hallmarks of a dark timeline, regardless of this ongoing blistering heatwave, indeed. But whilst this is a record that addresses the ever-present want to hibernate until the world rids itself of such evils, it’s also one that knows that change won’t come without action and art.
Formed of Aisling Whiting (Vocals), Toby Green (Drums), Charles Barnes (Guitar) and Benjamin Harris (Bass), here, Sans Froid utilise a wonderfully mercurial sound to narrate personal experiences of such themes. Sounding akin to Bjork, Peach, The Mars Volta, and CLT DRP fusing in utero, Back Into The Womb is an unflinching exploration of one’s place in a fractured and pressurising world that’s expressed with unapologetic musical charisma. Long-time fans may note that this record might be more approachable than their jangly debut Hello, Boil Brain, but with the band’s inherent musical weirdness still evident, this proves to be a record that articulates its themes with greater charisma. It’s something that results in Back Into The Womb being one of the most striking, exciting and poignant experimental releases of this year thus far.
With that in mind, and with Back Into The Womb out today via Church Road Records, we got in touch with Aisling Whiting to break down the record, track by track.
Go On
“The first tune that was a full splicing of ideas, Toby brought the catchy keys riff to a practice where we began embellishing the tune. After a few practices, we weren’t getting too far past the first section. I then sat with it at home (with some gin tins) and wrote some of the other sections, which we collectively structured at practice! To be fair, it was one of the quickest tunes to finish and is one of our faves to play! Lyrically, the song turned out to be about having to work extra hard as a woman in heavy(ish) music, and feeling the need to overcompensate / overanalyze situations that we really shouldn’t have to.”
Pros & Constants
“This song was a headfuck to write, which is hilarious because it’s probably one of our most simple tunes. I wrote the main synth riff when I bought my new keys, around the time that ‘Hello, Boil Brain’ came out. We tried a few different ideas across the following months but nothing felt right so we kept parking it, I got really frustrated that we just couldn’t seem to get the fucking thing finished. Until, knight in shining armour and silent fifth member Ben Green came to a pre-prod practice in the lead up to recording Back into the Womb, he basically pulled it apart and put it back together like a magical puzzle and we all did a cry when we heard the finished recording back in the studio. So, very glad we stuck at it!
I feel like this song really came alive with harmonies & additional layers of guitar played by Ben & Charlie in the studio. The vocal theme for this song narrates being way further behind in life than where you thought you’d be when you were a nipper, but also just kind of finding peace with it and running at your own pace.”
Still Thinking
“We’ve been playing this one live for ages, so it was mega to finally get it recorded. This was another collaboration. Toby and Charlie composed the first beautiful & melodic journey for their old band pre-pandemic on guitar, bass & drums, this then resurfaced years later as a potential Sans Froid which I then wrote the chunky bastard section as a bridge to ground the rest of the beautiful tune. I had a really specific rhythm in my head for the chunky bastard section, which I voice-noted to Toby and he obviously just picked it up straight away and made it the grooviest sassiest section in the history of time.
Lyrically: times that you’re feeling really shitty, like, you’re proper down in the dumps, and instead of being supported or even just having some positive dialogue with someone, you’re hit with a “well, I’m doing really well so, gutted” attitude. I’m sure there’s a better way of saying that.”
Baby Bags
“Recorded in one take baby. A Toby Green ode to Bags Packed.”
Back Into The Womb
“This one was a summer song I wrote, it feels like a song I would have written for my younger self but with additional Sans Froid sass so I immediately knew it would be a tune that the boys were going to enjoy constructing and playing! A generic tune for us in the sense that there’s a combo of pretty, melodic, piano led sections that merge into some chunkier slams. Thematically, the want to regress back into fetal position and be nurtured until all the crazy external noise quietens.”
Sorbet
“A jazzy little ‘sorbet like’ interlude, lazy and relaxed. Reinforced with layers of electronic drums to open the space for fun exploration that we’ve not collectively delved into before. One of those ideas that remains as a voice note recording for a long time, with the intention of turning it into a song but never really managing it. Now it’s found its purpose, so that’s nice.”
Menorabillia
“I’d been spending a lot of time with my male friends during the time of writing this tune, I think a lot of the lyrics stemmed from some of my ‘agony aunt’ moments spent with these pals and kind of just needing a bit of space to process all of these external emotional feelings as well as my own. Musically, the celtic inspired verses are complimented by Ben’s nutty, wandering bass riff section feeding into a huge vocal led pop chorus! This song was so much fun to write.”
Of The Mother
“The ballad of the album. Inspired by women. At the time of writing this, all of these revolting stories of mistreatment of women were just so strong in my brain…not because it was new news, but it really started to feel like we’d taken 85000 steps backwards and it was thick in my head. Manosphere, vicious maltreatment of women in various countries, still in 2026 nitpicking bodies so extremely that ozempic became a new kind of daily vitamin, predatory behaviours and emotional doting in my own small corner of existence, it’s all just a bit much isn’t it? The only things I know to do is handle things head on and write music, so I did a bit of both and that’s how this song came about. Musically, inspired by space and femininity.”
Bags Packed
“A Toby special, he showed us this song on an acoustic guitar after a show in Kusel and I immediately started writing vocals to it! A proper earworm. We were quite hungover when recording this tune, and in typical Ben Green style he made us do a million takes…but on this rare occasion, the first take was in fact the one we used. Originally written by Toby on piano.”
The Exploiter of Art
“A fuck you to Daniel Ek. Between funding AI warmachines & essentially paying artists minus money, this guy is a massive bellend and we wanted to form into song our disdain for the exploitative chump. Paired with a fun, jovial few riffs that meet the angry lyrical tone in the middle to create one of our boppiest tracks to date.”
Thorns
“Originally written by Toby on guitar, now a melodic piano piece. Thorns was written late at night, a late night riff played very quietly with intentions of lullabies. It’s one of those tunes that sounds infinitely better on a different instrument than the one you wrote it on. Lyrically, an ode to my beautiful (almost) husband. Feeling self-critical, a bit broken and damaged, then meeting the person who steadily takes that away and helps you to discover deeper love for and understanding of yourself. Gradually feeling safe in trusting external kind words and rebuilding trust with your own words to yourself. Recorded with many a glass of red wine and candle.”