Mystery Jets are Blaine Harrison, Will Rees, Kai Fish, Kapil Trevedi. On the making of the album Radlands, Blaine explains:

We've always wanted to make a record in America and after touring Serotonin the time felt perfect to go and do it. Our first three albums were entirely conceived and recorded in London so going out to Austin felt like the furthest place from everything we knew. We arrived with a handful of songs, but one in particular felt like it captured the spirit of why we had come there. It was called Radlands (a fusion of the 1970s Terrence Malick film Badlands and Redlands, Keith Richard's Sussex estate), which is also what we named our studio; a big old wooden house on the banks of the Colorado river.

All we brought on the plane were the guitars on our backs, so we ended up borrowing all this amazing valve gear from an old guy called jack who ran a little studio up in the hills-which is why the songs sound the way they do. In the daytime we wrote lyrics on the porch and in the evenings a family of Deer would gather in the back yard to hear us play. Some nights we drove into town to drink and bring people back to play on the songs.

When we arrived home, it was hard to believe any of it even happened. It somehow all felt like a strange dream. But when Dan Carey heard it and invited us down to his studio we listened back to everything and it was all there, it was real. All we were missing were some gospel singers, which he found in the Streatham community ladies choir...

Twelve months on, and we are gearing up to take Radlands on the road. Its been a long time and we cannot wait to see you all again.
xBlaine

In the land of White Noise, there lay a vast corporate landscape, which seasoned every major highway and small backcountry road for as far as the eye could see. The world itself tilted off its axis while all the powers that be played an eternal game of tug of war. The Little Ones felt so insignificant against the bigger picture. There were no new tales to tell and they felt stuck right where they started. Until one day there was a spark. They found it right outside their window. It was the branches that pointed them in the right direction. Although insignificant as it seemed, it reminded them what if felt to forget.

The Little Ones quickly realized that their only weapon against reality was their imagination. They embarked on a radical experiment: to see if they could convince themselves that everything was going to be all right. They spent majority of their nights holed up in their studio affectionately named "Uncle Lee's". There were many songs written and many songs abandoned. At times, they felt their muse had left the building. Still afraid of the world outside, they adopted a "just write and don't tell anyone policy"‚ that lasted for more than a year. As the experiment grew longer and longer, they grew weary that they could no longer follow the path they started on. One by one, each of the Little Ones wanted to stray. A new barometer needed to be set. They came up with Uncle Lee's Rule of Feet. The rule stated that a song was deemed appropriate if, and only if; each of the Little Ones' feet could shuffle. Once they adopted this new rule they began to realize what they had right in front of them.

Excited with the prospect of having songs that fit Uncle Lee's Rule of Feet they brought them to David Newton (The Mighty Lemon Drops). He too abided by the rule and helped document their discoveries to tape. After some gut wrenching and knob twiddling they produced six songs, which fit their new rule of thumb. Their Rollercoaster sessions yielded a collection of songs that showcased their love for subtle textures, rhythmic pulses, and sharp melodies. With each breath of the mellotron or shake of the shaker, the Little Ones created their own aural reality. What they did not expect was that it would have some effect outside of just the Little Ones. Those who bear witness were taken by the Caribbean undertones of Cha Cha Cha, the Motown backbeat of Oh, MJ!, and the percussion driven High on a Hill. Some of the Little Ones began to notice the social effects of Sing Song. Listeners felt the need to share their experience with others. Audiences felt the need to move closer. They suddenly realized that other people's feet were moving.

All members of the Little Ones lives were intertwined in some way over the years. Whether it was siblings, past bands, hometowns, or childhood friends. There were circumstances that brought these individuals and their feet together. The world may be off its axis, but the stars will inevitably align. The Little Ones, with Sing Song in hand, journey out of City of Angels to bring a new aesthetic. They want you to take a good look outside your window and see what it is like to forget even for just a second. It's right in front of you.