Michael, (guitar/vox), wants all the songs to sound like Philip K. Dick short stories, performed as musical theatre by Scott Walker.

Rael, (keys/guitar), composes lush, aching, romantic scores for the cinema, and therefore attempts to replace many of Michael’s riffs with Ginastera. He doesn’t always win.

Ben (drums) starts arguments about which of ‘prog’ or ‘art-rock’ are less odious words describing genres that Thumpermonkey don’t fit in to.

Sam plays bass a bit too well, listens to too much jazz, and has a deep Magma obsession. He can’t see what all the arguing is about and enjoys the fact that Thumpermonkey ‘do celestial beauty as well as riffs’.

Some of the arguments turn into music – music that is, by turns, heavy, delicate, classically and cinematically influenced, sardonic, and divisive.