In 2025, there aren’t too many sports that haven’t received the video game treatment. From the huge FIFA, NBA 2K, and Madden NFL franchises to the pugilistic delights of Undisputed and EA’s take on the UFC, many gaming fans like nothing better than settling into the virtual realm of their favourite sporting pursuit.
If Soccer, Basketball, American Football, Boxing, Golf, or Tennis float your sporting boat, you aren’t short of options. But what about those who prefer sporting stars of the four-legged variety? Are there any good horse racing games out there?
It turns out that there are. Whilst not enjoying anything like the type of mainstream success as the Fifa’s and NBA 2K’s of this world, the following are well worth checking out for racing fans taking a little break from assessing the very best free bets UK players can take advantage of.
Gallop Racer Series (PlayStation, PlayStation 2)
Best For: Players who want an in-depth horse racing simulation.
Gallop Racer, developed by sports gaming experts Tecmo, is one of the most beloved horse racing video game series. With multiple entries, including Gallop Racer 2003 and Gallop Racer 2006, the series offers realistic horse racing mechanics, breeding features, and career modes that allow players to build their own stable.
Best For: Motion controls and immersive jockey experience.
G1 Jockey and Gallop Racer are two of the most iconic racing franchises – Champion Jockey combines many of the best bits of both. If a realistic riding experience, complete with motion controls for the Wii and PlayStation Move, is your goal, we suggest making this title your first port of call.
Derby Owners Club (Arcade, PC)
Best For: Multiplayer and competitive horse breeding.
Away from the action on the track, many horse racing fans enjoy delving into the breeding of the equine stars. Identifying the leading sires and profitable pedigrees is all part of the appeal. In Sega’s Derby Owners Club, you can train, breed, and race your runners in a competitive online environment. Initially an arcade classic, the game became a smash hit in North America and Japan.
Winning Post Series (PC, PlayStation, Nintendo Switch)
Best For: Deep strategy and management.
Another entry from Tecmo, the Winning Post series is the thinking man’s horse racing game. Whereas Gallop Racer brings a thrilling racing simulation, this long-running series delves more deeply into the training and breeding elements and provides a more realistic experience of the racing industry as a whole.
Rival Stars Horse Racing (PC, Mobile, PlayStation, Xbox)
Best For: Stunning graphics and accessible gameplay.
As one of the newer entries on our list, it shouldn’t be a surprise that Rival Stars Horse Racing is one of the best-looking horse racing games ever created. Away from the beautiful graphics, you can expect engaging storyline elements, solid simulations, and breeding and training features. For those looking to take their game with them, Rival Stars Horse Racing is also available to play on mobile.
Starters Orders Series (PC, Mobile)
Best For: Realistic horse racing simulation.
Starters Orders scores top marks for authenticity, with this PC and Mobile title featuring real-world racecourses and impressively detailed simulation elements. Manage your own stable, become a jockey, or even head to the betting ring in this nicely varied addition to the horse racing gaming field.
G1 Jockey Series (PlayStation 2, Wii)
Best For: Realistic jockey simulation and controls.
For those who don’t want to worry about the finer workings of the sport and simply want to ride a horse, this series provides one of the best jockey experiences. Just as with the flesh and blood riders, you must balance timing, stamina preservation, and positioning if you are to come out on top. For the most immersive experience, we recommend tracking down the Wii version, as this game is an excellent fit for the motion control system.
In the 21st century, sports and gaming have become increasingly intertwined courtesy of the e-sports explosion. Thanks to the popularity of titles such as Counter-Strike, League of Legends, and Valorant, you can now find the latest e-sports odds alongside more traditional sports at many sports betting and casino sites.
However, the marriage of sports and gaming predates the e-sports age, with the two going hand in hand almost from the advent of the first console. In an era of increasingly detailed graphics and immersive gameplay, sports gaming fans have arguably never had it so good.
Whilst there is a place for hyper-realism, it isn’t the be-all and end-all in the sports gaming world. Sometimes, we like to kick back and relax with a game from simpler times. For those seeking a retro gaming session, the following releases all border on classic status.
Tecmo Super Bowl (1991) – NES
A game must be pretty special to retain its popularity for over thirty years. Tecmo Super Bowl is just that. A pioneer at the time of its release, the game was the first to feature real NFL players and teams. Like many of the best games, Tecmo Super Bowl is easy to learn but tough to master and boasts impressively deep strategy for a game of its time.
NBA Jam (1993) – Arcade, SNES, Genesis
Eschewing hyper-realism in favour of physics-defying moves, this early 90s smash hit features spectacularly improbably dunks, a thrilling “two vs two” format and iconic commentary, “He’s on fire!” A huge bundle of fun at the time, NBA Jam continues to hit the spot.
Blades of Steel (1988) – NES
In our opinion, the first great Ice Hockey title. Blades of Steel captivated fans in the late 80s and early 90s. Offering three difficulty modes (Junior, College, and Pro), this Konami production is both lightning-quick and silky smooth. Come for the thrill-a-minute gameplay and retro-tastic commentary and stay for the legendary fight feature.
Mike Tyson’s Punch-Out!! (1987) – NES
Another classic from the most retro-of decades. In Punch-Out!! You take the role of Little Mac, who, as the name suggests, is both small and named Mac. Battle your way up the ranks and master imaginative pugilists, including Bald Bull, Glass Joe, and King Hippo, before battling the final boss, Iron Mike himself. With each fighter boasting a distinctive style, the game tests your reflexes and puzzle-solving abilities.
FIFA International Soccer (1993) – Sega Genesis, SNES
All iconic franchises start somewhere. In the case of the hottest soccer series on the planet, it all began with this 1993 release. Thanks to innovations such as isometric camera angles and “relatively” realistic gameplay, FIFA International Soccer proved a huge hit and laid the foundations for all that would follow.
WWF No Mercy (2000) – Nintendo 64
Many wrestling titles have appeared since WWF No Mercy hit the shelves in 2000. However, not too many have achieved the instant iconic status of this N64 classic. Twenty-five years on, WWF No Mercy is still considered one of the greatest wrestling games of all time, with the smooth gameplay, career mode, and multiplayer mayhem continuing to provide a richly satisfying experience.
Tony Hawk’s Pro Skater 2 (2000) – PlayStation, N64, Dreamcast
Tony Hawk’s Pro Skater 2 took everything the first game did well and made them better: new tricks arrived, the gameplay physics received an upgrade, and even the soundtrack was better. Topping the cool stakes at the turn of the century, Tony Hawk’s Pro Skater 2 remains one of the most satisfying arenas to pull off those insane combos.
Sony has officially confirmed the main cast and shared a release date for the upcoming Beatles biopics. Set for release in April 2028, the Sam Mendes-directed films – each of which will focus on an individual member of the Fab Four – will star Harris Dickinson as John Lennon, Paul Mescal as Paul McCartney, Barry Keoghan as Ringo Starr, and Joseph Quinn as George Harrison. All four names had previously been reported or rumored, but this is the first time they have been officially confirmed.
In addition to directing the films, Mendes will produce alongside Pippa Harris, Julie Pastor, Jeff Jones, and Alexandra Derbyshire. The official logline: Each man has his own story, but together they are legendary.
A well-done monochrome outfit looks effortlessly put together. Maybe it’s the streamlined silhouette, maybe it’s the illusion of height – it doesn’t hurt that it makes getting dressed in the morning infinitely easier. Whatever the reason, monochrome dressing is one of the simplest ways to look your best without trying too hard. But pulling off the one-color look without feeling overly uniform? That’s an art. Here are a few tricks on how to master the monochrome trend.
Pick Your Color Wisely
Not all colors are created equal. A head-to-toe hot pink outfit might work on the runway or for a special event, but it’s a little trickier to pull off for a day-to-day look. For a casual monochrome outfit, try neutrals like beige, gray, or camel.
Choosing the right shade for your skin tone can also make all the difference. Color analysis is based on four seasons – spring, summer, autumn, and winter – each with its palette of flattering hues. If you have warm undertones, autumnal shades like mustard, red, or olive will complement your complexion. Cooler undertones shine in blues, deep plums, and whites. Knowing your seasonal palette can help you select a monochrome look that enhances your natural features rather than overpowering them.
Mix Textures for Depth
Wearing one color doesn’t mean looking one-dimensional, and different textures help a lot. Think a silky slip dress with a chunky knit sweater on top or a leather or denim skirt with a cashmere top. Playing with texture keeps the outfit from feeling flat.
Play with Shades
You don’t have to match your colors exactly. Layering slightly different shades of the same color creates a more intentional look. Add a rose blazer over a blush pink dress, or match a blue ensemble in shades of indigo, cobalt, and periwinkle. The slight contrast adds sophistication and makes it clear that your outfit is intentional, not accidental.
What Accessories To Choose
Keep your accessories in the same color family, and this will give you a sleek look. If you have a monochrome outfit in brown, pair it with a caramel-toned bag and dark brown boots. But if you’re looking to break things up just a little, try adding metallics or a pop of a complementary color. A red bag with an all-pink look will give off Barbie-esque vibes, and gold jewelry will pair beautifully with an all-white suit.
Consider Your Silhouette
Since you’re working with just one color, your silhouette becomes even more important. That’s why balance is key. If you’re going oversized on top, like an oversized blazer or chunky sweater, keep it small on the bottom with tailored trousers or a body-hugging skirt. If you’re rocking wide-leg pants, put on a fitted top.
Confidence is Everything
If you feel like a boss in your fit, you will look like a boss. Confidence is the best accessory, and nothing pulls a look together quite like owning it. Trends change fast, and what was once considered bad is now a go-to styling choice. The takeaway? Rules are meant to be broken. If fashion shifts this quickly, there’s no reason to obsess over fitting in – wear what makes you feel your best
Ahead of the release of their new LP Welcome to My Blue Sky on Friday, Momma have shared one more preview, the swirling, infectious ‘Rodeo’. Following previous cuts ‘I Want You (Fever)’ and ‘Bottle Blonde’, the track comes paired with a Richard Phillip Smith-directed video. Check it out below.
“This song is written from the perspective of two people we kind of left behind, romantically,” the band’s Allegra Weingarten (she/her) and Etta Friedman explained. “It’s our attempt at honoring their stories by tapping into the feeling of being replaced by someone else. We made the video with Richard Smith, who had the idea to put us on an ice rink and have someone skating around us, with a bull chasing her. It’s supposed to replicate the idea of being in the center of the ring of a rodeo, and feeling like someone is doing laps around you and you just can’t keep up.”
Jiayi Lin is a digital artist based in London. Jiayi’s digital artworks deeply reflect on the complex relationship between cultural heritage, social critique, and future imagination within contemporary art. His work integrates futurism, postmodernism, and semiotic theory, creating an artistic style that is both socially conscious and highly experimental.
From the perspective of artistic movements, Jiayi’s work clearly embodies a fusion of futurism and postmodernism. By utilizing advanced 3D modeling and digital animation techniques, he presents a visually striking world infused with futurism and technological aesthetics. However, unlike traditional futurism’s optimistic outlook on technology, his work expresses deeper concerns about the social conflicts and ethical dilemmas that technological advancements may bring. This critical attitude toward the future gives his work distinct postmodernist characteristics, namely a deep skepticism and critique of modern society and technological rationality.
The use of semiotics is particularly prominent in Jiayi’s work. He skilfully conveys deep cultural and social meanings through specific visual symbols. In HYPOXIA, Jiayi Lin adopts an industrial aesthetic, employing precise geometric structures and a cold colour palette to reinforce a critical commentary on capitalism’s exploitation of natural resources. The industrialization, standardization, and coldness in form are not just artistic choices but serve as a metaphorical critique of the extreme commodification of contemporary society. The towering oxygen tanks, production lines, and enclosed industrial settings in the artwork serve as visual symbols of capitalist logic, revealing the harsh reality of life-sustaining resources being commodified and controlled by capital, further deepening the work’s social critique.
Scene Excerpt from ‘HYPOXIA’
Jiayi’s Phenomenon of Fireworks places semiotic theory at the centre of a profound examination of traditional rituals and contemporary digital expression. In the artwork, fire is not merely a representation of Yi beliefs and rituals but also a multifaceted symbol that bridges historical memory and contemporary experience. The artwork skillfully recreates the collective cohesion and cultural identity embodied in the traditional Torch Festival through dynamic digital imagery and installation media. The particle flames composed of digital 0s and 1s symbolize the essence of information in the digital age and the virtualization of culture, highlighting the tension between traditional rituals and digitization. As the flames transform into Yi script, they reflect the self-redefinition of cultural symbols in shifting contexts. This process of symbolic transformation not only underscores the fluidity and ambiguity of meaning in transmission but also highlights the profound impact of digital media on the formation of cultural symbols.
In The Buckwheat Has Bloomed, he deconstructs and reconstructs key symbols from the Yi creation epic ‘Meige’—such as the cosmos, fire, water, and buckwheat flowers—within a digital landscape. In this context, “fire” is no longer merely a natural phenomenon but a symbol of power, destruction, and rebirth. The “cosmos,” in contrast, symbolizes a broader concept of life and time. “Water” symbolizes fluidity and transformation. The “buckwheat flower,” in turn, becomes a symbol of cultural identity and traditional memory, re-encoded in the digital space, suggesting that cultural transformation is no longer solely dependent on oral tradition and text but can be reproduced through digital media. This reinterpretation of traditional symbols allows Buckwheat Flowers in Bloom to explore the digitization of cultural heritage while also sparking discussions on the tension between cultural preservation and commodification.
Video Excerpt from ‘The Buckwheat Has Bloomed’
In The Five Seasons of the Universe, Jiayi further applies semiotic theory to explore the dialogue between the Yi people’s traditional concept of time and modern cosmological theories. He takes the rotation of the Big Dipper as the visual centrepiece, with the continuous motion of the constellation symbolizing the passage and cyclical nature of time, revealing the Yi people’s profound understanding of the universe and natural phenomena. The alternation between grayscale and color imagery in the work not only creates a striking visual contrast but also, on a semiotic level, conveys the tension between time and space, memory and forgetting. The use of abstract lines further enhances the visual expressiveness of the composition; though chaotic, they intertwine with a sense of order, metaphorically representing the collision and fusion of different knowledge systems. In this way, The Five Seasons of the Universe goes beyond merely reproducing cultural symbols, instead presenting a complex scene of cross-cultural and interdisciplinary interaction. It reflects the artist’s in-depth exploration and critical reflection on how traditional knowledge adapts to and integrates into the modern scientific context.
Video Excerpt from ‘The Five Seasons of the Universe’Video Excerpt from ‘The Five Seasons of the Universe’
From a formal analysis perspective, Jiayi’s digital art exhibits uniqueness in visual composition, colour application, and dynamic expression. His works often employ a highly formalized visual language, such as the interaction between a mechanical hand and soft fabric in Blue 2054, where the high-saturation colors create a distinct visual tension. This formal contrast and unity not only enhance the visual expressiveness of the work but also emphasize the surreal nature of the virtual world, strengthening the emotional resonance between the audience and the artwork while metaphorically alluding to the complexities of human relationships.
Video Excerpt from ‘Blue 2054’
Jiayi’s digital artworks merge futurism and postmodernism, creating an art style that is both visually striking and critically engaging. He applies semiotic theory to deeply explore the social and philosophical meanings behind cultural symbols, while using formal analysis to enhance the emotional expression and conceptual communication of his work. His work reflects the keen observation and deep reflection of contemporary digital artists when confronting technological change, cultural conflicts, and social ethical challenges.
Jiayi does not simply create a visual collage of traditional culture and futuristic technology; instead, through in-depth semiotic exploration and formal experimentation, he successfully constructs a visual narrative space that provokes deep thought and reflection in the audience. His work consistently situates art within the context of real-world social issues, attempting to offer a new perspective on contemporary societal challenges through virtual futuristic landscapes. His work embodies a systematic approach to speculation and practice. This cross-disciplinary artistic creation not only enriches the expressive forms of digital art but also offers a profound and thought-provoking cultural critique of contemporary society. Through his artistic exploration, he has successfully created a meaningful connection between traditional culture and modern technology, allowing the audience to re-examine and reflect on our present reality within imagined future landscapes.
Anime and manga have made their mark in nearly every corner of pop culture so it’s no surprise that they’ve also made their way into online gaming. From stylish slots to narrative-rich casino games, these titles blend vivid aesthetics with interactive gameplay.
We’ve picked a few standout anime-inspired games that are accessible, fun, and packed with personality. Whether you’re into classic shōnen or magical girl vibes, there’s something here that speaks your visual language.
Popular Anime-themed Online Casino Games with Low Deposit
Manga and anime theme casino slots with low deposits are rare to find. Luckily, this section reveals popular titles you can try with a strict budget:
Koi Princess Slots
Koi Princess is a famous casino game from the NetEnt software provider. The main character is an anime heroine who is fixed beside the reels. Its 20-payline system gives players many ways to win huge in each spin. Some online review platforms, such as plkasynaonline.com, list casino sites that offer access to anime-themed games like Koi Princess with a minimum deposit as low as 5 zł.
Plus, there are four bonus features that include:
Random Wild: A single free spin with 4 to 9 wild overlays.
5-Hit: 1 FS with a sure win with five symbols.
Wild Reels: 1 FS featuring 2 to 5 wild reels.
Bonus Activation: A special free spin with 3 bonus symbols and a random bonus feature.
Fortune Girl
Take a walk to the manga atmosphere with the Microgaming-developed Fortune Girl game. This low deposit casino game features:
Reels & Paylines: 5 reels with 15 paylines for numerous winning combinations.
Theme: A wealthy manga girl eager to share her riches with lucky players.
Bonus Features: Exciting extras like free spins and mystery symbols to boost winnings.
Winning Potential: Win up to 6,000x your stake.
Betting Range: Flexible stakes ranging from 0.01 to 0.5 per spin.
Fortune Girl offers a great atmosphere combined with promising winning opportunities. This online slot will appeal to fans of manga and low deposits.
Saiyan Warriors
The Saiyan Warriors anime slots offer quality animations and graphics. It has a Dragon Ball Z setting with famous characters like Goku and Gohan. In this online slots you’ll find:
Reels & Paylines: 5×3 grid with 20 paylines.
Betting Range: Flexible from $0.01 to $100 per spin.
Bonus Feature: Free spins activated by landing 3 or more scatter symbols.
Dragon Ball Z fans and gamblers looking to play this casino game can find it on platforms powered by provider Dragongaming.
Shinobi Wars
Try your luck in the popular Shinobi Wars casino game with manga and anime themes. This casino game allows you to play with low deposits and also include:
Theme: Japanese martial arts and espionage.
Betting Range: Suitable for all budgets, from $0.01 to $4 per spin.
Bonus Feature: Earn free spins by landing 3 to 5 scatter symbols.
Shinobi Wars provides an immersive experience for manga enthusiasts and slot players alike.
Moon Princess
Another popular anime slot is the Moon Princess by Play’n Go. It presents female characters similar to Sailor Moon.
Reels & RTP: 5 reels with a high RTP of 96.50%.
Betting Range: Affordable stakes from $0.20 to $5 per spin.
Max Win: Potential winnings up to 5,000x your stake.
Bonus Features: Includes free spins, bonus symbols, and medium volatility gameplay.
With vibrant graphics and high winning chances, Moon Princess appeals strongly to fans of magical anime adventures.
Ghost in the Shell Slots
You have probably come across the name Ghost in the Shell in anime TV shows, novels, and video games. Symbols include iconic playing cards (Kings, Queens, Aces, and Jacks) cascading in a vibrant game environment.
Reels & Grid: 5×3 cascading grid layout.
Betting Range: Accessible wagers between $0.45 and $90 per spin
RTP: Solid return-to-player rate of 96%.
Bonus Feature: Free spins triggered by landing 3 scatter symbols.
Ghost in the Shell provides a familiar yet exciting gambling experience, capturing the essence of the famous anime.
Why is the Anime Theme So Popular in Casino Games?
Online casino gamers wonder why anime slots are famous on igaming platforms. Below are some reasons why you won’t fall short of the game themes:
Colorful Designs
The design features bold colors and fun characters. Thus, adding these elements to casino games makes titles exciting. Gamers enjoy lively visuals compared to vintage casino themes. Plus, the bright designs keep them busy for long periods.
Global Fanbase
Most people from various parts of the globe love anime movies, stories, and novels. They also adore such slots and find them exciting. As such, this attracts anime fans who are irregular casino gamers to bring a huge audience.
Fun Stories
The Japanese design also has deep stories and characters. Adding these elements in gaming titles creates a fun adventure. Besides spinning reels, you will follow a fun journey.
More Exciting Theme
Classic gaming options use cards, fruits, or dice. On the other hand, anime slots apply magic, heroes, and fantasy worlds. These themes, thus, create a fresh and exciting moment. Gamers also enjoy the sense of adventure in the titles.
Appealing to Young Players
Most online casino users are aged 16 to 40 years. Most of these individuals grew up watching anime movies and playing video games. They tend to prefer modern and stylish gaming options. Anime designs are more appealing to them compared to their vintage counterparts. As such, casino providers and platforms add these games to meet their demands.
To Sum Up
Anime gambling games are extremely famous for their amazing graphics and gameplay. They have various features to ensure you grab extra wins on every spin. The titles have bonus rounds, unique themes, fair RTPs, and are fun to play. Luckily, we’ve listed some slots accepting low bet amounts with the appealing design. It’s now time to visit online casinos and take your gameplay to the next level!
It’s been five years since the Ophelias’ last album, Crocus, but its follow-up, Spring Grove, is by no means a post-pandemic document. Spencer Peppet’s lyrics burrow much deeper into past wounds, burdened by dreams that recur without end or explanation, blurring the line between the present moment and what’s clearly come to pass. When the titular Spring Grove cemetery comes up, it is in reference to the summer of 2014, yet as if neither person would now be the first to speak. “The feeling of you haunts me and I/ Know that I can recognize that,” she confesses on new single ‘Cicada’, and the whole record gives it shape even when the ghosts cease to follow. After collaborating with the band – Peppet, violinist Andrea Gutmann Fuentes, bassist Jo Shaffer, and drummer Mic Adams – on Crocus, Julien Baker took on the role of producer for the first time, helping to translate a collection of archival material into their most fully-realized and urgent collection yet. Spring Grove is no less turbulent or cathartic for how ornate and evocative it sounds, buzzing through each dug-up memory like only this specific group of people could do it justice. They may be stories now, but, rising to the surface, ring truer than ever.
We caught up with the Ophelias’ Spencer Peppet to talk about moth music, the recording process behind Spring Grove, her OCD diagnosis, and more.
The Ophelias’ website used to say your music is “inspired by nostalgia, nature, the Midwest, horror movies, and the moon.” Now, I’m sure a lot of people looking at it for the first time are asking you what “moth music” means.
Andrea came up with the term “moth music,” which stuck. We thought it was great and have used it since – that was when we were like 18. Now, I feel like I’ve finally come up with what it means – it only took me, like, 10 years. To me, “moth music” means cathartic, orchestral indie rock. That’s my definition now, but my bandmates would probably have other definitions as well. I just love the image of the moth – it’s something we’ve been returning to over and over. It’s so evocative. She plucked that out when we were teenagers, and it still feels applicable, which is crazy.
Spring Grove record began as a collection of demos you revisited in 2020 and recorded the following year. I wouldn’t call it nostalgic, but it’s definitely haunted by past relationships and experiences. Do they feel even more distant now, as you release these songs?
Yeah, sometimes it gets a little meta. It’ll be like, “Oh, now it’s me three years in the future, reflecting on a relationship I was reflecting on when I wrote the songs.” Doing interviews like this is always interesting because part of why I wrote them was to process those things and find some internal resolution around those conflicts or relationships. In the case of something like ‘Open Sky’, ‘Cumulonimbus’, ‘Parade’, – or ‘Forcefed’, even though that’s more about my relationship with myself – they acted as pretty effective processing tools.
I’m a journaler – I’ve journaled since first grade, and I have all of them. It’s a crazy thing to be able to be like, “I wonder what I was thinking in fifth grade,” and then open up the journal and be like, “That’s what I was thinking when I was in fifth grade.” That’s a big part of my life. It’s something I think about a lot: I have too many thoughts going on up here all the time; I get overwhelmed easily because there’s a lot of stuff happening. One way that I combat that is by putting it all on paper. And it’s almost like once it exists there, it no longer has to take up space in my brain anymore.
Writing these songs is kind of another form of that, where it’s like: Once you put it on the page, once you set it to music, once you record it at the recording studio, once you mix it, you master it, and you put artwork onto it… It no longer has to take up all of that space in my brain, and it’s very effective that way. It’s definitely interesting to be now, a couple years later, kind of coming back to those – they feel like stories now – coming back to those stories, those relationships, those conflicts, and being like, “Wow, you know, a lot of things have changed even in the past three years since we made this record.”
How does it feel different now compared to revisiting a journal entry?
I mean, I feel like the lyrics are prettier than what I write in my journals. [laughs] I think having songs like this, when I write them, they feel like they’re still mine, or like “about me” or my experiences, but then, almost immediately, they become something different because I get to invite my bandmates in. Step one of the communal thing is getting to work with my bandmates. They write all of their parts, and it becomes a group effort to even become a full song. And then, when you invite Julien and Cal [Lauber] – obviously, Julien produced, and then Calvin engineered and mixed, and JB also helped mix it – then we’ve got five people who are paying really close attention to these songs, who are writing parts, who are making suggestions. It becomes its own little entity or organism. And then you invite the label team in, your publicist, your booking agent, and they’re all working to make the record feel like a little world. They’re all included in the community, in the group. And then it comes out, and it goes to however many people hear it, and more and more people get included in the communal experience of a record.
Writing a journal stays for me, right? I try really hard not to journal like someone is gonna read it after I die. I try not to do that because I’m like, “I gotta just be in the moment and journal for real.” But music? The point of it is that eventually someone will hear it. It feels like a different experience, which I like and enjoy.
You also have a newsletter, and I’m curious where you draw the line between what you document there or in your journals and what might potentially become a reference point for a song or lyric.
I think that comes with time. Every once in a while, I’ll journal something and note to myself, “Oh, I should return to this.” Or I’ll have been thinking about something and want to include it in something more public. For example, on the Substack, which I’m trying to get better at – I feel like, weirdly, Substack is the scariest form of social media for me. You post a picture on Instagram, or you post a video on TikTok, and it’s a little bit like, “Look at me, I’m feeding the algorithm and playing the game.” But with Substack, it’s like, “Here’s what I really think.” So I’m trying to get better at just being consistent with that because I do really enjoy the format, but I feel like when I write something on Substack, I want it to feel substantive.
My journals are so inwardly focused – it’s the place where I allow myself to be self-centered and a little selfish. It’s a lot of like, “How do I feel in the moment?” versus something like Substack, where I want to think about big ideas or send a little letter about what I experienced. For example, I went to SXSW and tried to write a little day-by-day thing of what I experienced, just because I think that would be fun. But I don’t want to send something that feels unfinished or empty. You know what I mean? It’s a high bar to set for yourself, and I think I’m trying to allow myself to be a little more fluid with it, so we’ll see what happens there.
Tell me about the process of ranking the demos for Spring Grove as a band; I wonder whether this feeling of something being unfinished fed into it.
The ranked-choice voting was really fun, and I think we’ll probably do it again because it allowed everybody to be like, “Okay, these are my non-negotiables – we have to do these.” I think we did it color-coded. I made everybody a color-coded spreadsheet to fill out – Virgo behavior, for sure. [laughs] But it was like, “Your top three, we have to do these.” And I think everybody had, if not the same top three, a lot of crossover in the top three, and everybody’s top three made it into the record. And then you had like your yellows, if I’m remembering correctly, being like, “These are my other favorites.”
It’s fun to see what people pick, where their inclinations lie, and what ideas they have for things. One of my favorite things is when a song, like you were saying, feels unfinished, or I’m not sure about it, but my bandmates are like, “No, Spencer, we have to do this one,” and I kind of have to be like, “Okay, I believe you – we’ll try it out.” And a lot of times, those end up being some of my favorite songs on the record. For example, that happened with our last record, Crocus – ‘Sacrificial Lamb’ was one where I was like, “I don’t know, maybe that’s not my favorite song.” And then Andrea was like, “Hold on,” and sent me a demo later that night with like 50 violins on it. And I was like, “Oh, I get it!” Ends up being a single, ends up being a song people like, which is great.
Same thing happened on this record with ‘Crow’. I was not sure about that one, and Andrea was like, “No, we’re doing it.” And Mick was like, “I hear the vision.” That’s another piece where it goes communal again. That’s a moment where it’s no longer just mine, even though, sure, it’s about my experience seeing the sister of one of my exes at the Kenwood Mall. [laughs] But it’s no longer really about that.
You don’t have to name your top three choices, but would you say your favorites have changed now that the songs are done?
I can remember two of them, for sure, ‘Cumulonimbus’ and ‘Spring Grove’. So I’m like, “Okay, slay!” Lead single, title track – amazing. I can’t remember what my top third one was, but I do think there are some where I didn’t expect to love them as much as I do. ‘Parade’ is one that I feel like as soon as we got in the studio and started really fleshing it out, I was like, “Oh, this is cool.” Or ‘Shapes’, I think, has taken on a really lovely final form. I love Andrea’s harmonies, I love Mick playing the little drum machine, I love Jo doing the slide guitar – it takes on a new life and a new form. I’m generally just really proud of this record, so people will be like, “What’s your favorite song?”And I’m like, “…All of them,” you know? I just feel like this record is, personally, our best yet.
Lead single, title track, and the third song you mentioned, ‘Parade’, I feel like has a line that could be the record’s subtitle: “Empathy for all the hidden deep wounds.”
I appreciate that. It would be like, The Ophelias’Spring Grove: Empathy for All the Hidden Wounds.
You tracked the album over ten days at Young Avenue Sound in Memphis. What do you remember about the days before and after going into the studio?
Days before – I think Mick and Jo and I practiced a bunch of times. Definitely a little nervous, like, “We don’t know what this is going to be.” We drove down – I think there was a storm on our way in, some kind of crazy weather thing, and I remember driving in through the storm, being like, “Here we go.” And then the first day that we got there, before we had even recorded at all, we went into the studio and met Cal, met JB, said hi, checked out the studio, and Julien came over – we had met in 2019, but met her in that context of like, “We’re here to make a record.” We hadn’t seen her in a long time because it had been quarantine, so first time seeing each other in a long time, she came to the house that we were staying at with her dog, Beans. And immediately her dog ran out the door, and we were like, “Beans is gone!” So she’s like running around trying to get her dog, and we were like, “Oh, okay.” Like, “This is going to be normal. This is going to be fun.” She’s a very down-to-earth person, very thoughtful and kind.
So that was right before, and then right after, I do think we listened to the rough mixes the entire drive back. [laughs] I think we were all like, “This record is crazy.” We were kind of just in shock, like “I can’t believe that that happened.”
How much did the mixes change over the next months or years? Were there a lot of tweaks to the record?
Not a ton. JB was super detail-oriented in her mix notes and would sometimes text and be like, “Hey, I think this needs a keys part. Can I add it?” And I’d be like, “Yeah, of course, go for it.” On ‘Crow’, right after the first chorus, there’s a little piano part, and she was like, “That has to be in there. I can hear it. Can I play it just at my house and add it?” And I was like, “Yeah, of course.” So now, whenever I hear that, I’m like, “Oh my god, hi!” Like, there she is, playing on her little keyboard. So I think it got very specific – it didn’t feel like there were big changes, but just very purposeful changes.
In addition to keys, vocals, and overall production, Julien Baker also plays additional guitar on two of the most ferocious songs, ‘Salome’ and ‘Sharpshooter’. What was recording those tracks like?
Yeah, she plays almost everything. She sings, plays guitar, banjo, keys/piano, synth, mix notes. She also studied, I think, music engineering and was definitely in the room adjusting the amps. She brought two suitcases full of pedals to build a pedalboard, which was crazy and sick. Those songs in particular were really fun to record. Something that I keep saying is – it does feel like we’ve been kind of reaching for this sound for years, trying to accomplish the way that these songs sound now, and it kind of feels like, “Holy shit, they sound the way that we had been hoping that things would sound.” It feels like the completion of a years-long aim.” And I think that a lot of that was just finally knowing what we wanted and being able to say that the guitar should sound so crunchy, or it should be more guitar-led, or have really forward bass, or keep the violin kind of on the lower end of the notes until we get to this one part. It feels like we locked in with what we wanted and were able to really do it for real.
You mentioned Jo’s bass playing – even on the quieter songs, it really stands out in how expressive and out there it is.
I love Jo’s bass parts. They’re so weird. They’re very evocative, very melodic. It’s not a lot of root notes. I think that Jo has a really wonderful sense of melody and counter-melody, and it feels like these songs would not be as interesting without her little basslines because they kind of peek forward and then pull back again. Every now and again, you’re like, “Oh, shit! What was that?”
Another detail I noticed is that Mia Berrin of Pom Pom Squad sings harmonies on ‘Vulture Tree’. How did that come about?
My bestie! She’s been my best friend since freshman year of college. I sang on her last record, and we’ve played many shows together. She’s the person that I go to for a lot of things. I sent her ‘Vulture Tree’, and she was like, “Spencer, I’m obsessed with this song. Can I sing harmonies on it?” I was like, “I would be honored.” She just did that at home and sent it to us. She did a beautiful job and I love having her on the record.
Spring Grove revolves around these very vivid and sometimes ambiguous confrontations, encounters, or memories of people you used to know in some way. Were there moments where you were wary of veering into what, on ‘Cicada’, you call “twisted brain theater”? Is that something that was on your mind?
I think at a certain point, it becomes no longer my business if the people – also, people will always try to guess which songs are about them, and they’re always wrong. [laughs] Maybe these ones are clearer. But I’m trying to acknowledge my role in everything. I think I tried to be fair and honest, at least about my side of the experience. Obviously, when you write something, you are going to be biased because it’s coming from one person, right? But I think I do my best to avoid cruelty, and I do my best to avoid anything that would, like, cause someone harm. But other than that, this is my life. These are my experiences, and if I share something that feels vulnerable, I just have to expect or anticipate that people will be cool about it. I think it’s been okay in the past, and I’m hoping, unless something insane happens, that everything will be cool in the future.
I think that’s part of being a songwriter, too. All the best songs I feel like are very specific, and it’s just part of being willing to share that part of your brain with people. A lot of my favorite songwriters are very specific in different ways. Bob Dylan, he’s writing all kinds of very personal, directed shit. Joanna Newsom is one of my favorites, and I feel like she’s writing very pointed things, but under this really beautiful set of ornate lyricism, where it can be hard to pick out what line is about who – but once you figure it out, you’re like, “Oh, I see how that connects.” I mean, Phoebe Bridgers is a great example where all of her stuff is so specific that you’re like, “This has to be from your life, from your brain.” Like, “You gave me fifteen hundred to see your hypnotherapist”? Slay. Love.
Another aspect of the songs that I love is how they often jump through time. On ‘Gardenia,’ you’re reflecting, and then it travels back to this specific memory in a very visceral way.
A lot of these songs are, even at the time, reflections, right? I think about ‘Gardenia’, even the opening line: “I saw your girlfriend move to Sweden.” Like, those two aren’t together anymore. That was years ago, even at the time of writing. A lot changes between writing a song, recording a song, putting a song out at that time. I’m writing about being 18, a freshman in college, new to New York City, and feeling insane. Every now and again there’s a worry: Are people going to get this? Do people understand the reflective nature of a lot of these songs, and that they’re not set in the present day? Or something like ‘Spring Grove’ is both from the perspective of my teenage self, reflecting on my teenage self, talking to my teenage self, her talking back to me, me speaking now. It’s not a very cut-and-dry “this is what it’s about.” I hold our listeners in pretty high esteem, so I think a lot of the time people do understand. But every now and again, I think, “Oh, man, this is vulnerable and kind of complicated.” It’s a weird thing to share so openly with people, but it’s good. I think it’s a good thing to do.
I know that you were diagnosed with OCD when you began working on these songs. Given that you were also journaling, how entangled did the creative process become with the way you perceived the world or yourself? Is there a connection there that you can articulate better now?
It’s so much processing. Oh my God, it’s just endless processing. That’s life, just processing. But getting that diagnosis made a lot of things make sense. I was like, “Oh, that’s what that is.” And it’s almost a relief just to have someone say, “This is an explanation. This is something we can give you tools for. We can talk about it.” It becomes way less of a I don’t know what’s going on. I feel crazy all the time. Maybe I’m evil. Maybe I’m losing my mind. OCD definitely thrives on mysticism and confusion. As soon as you name it, it gets boring – like, “Oh, that’s just a misguided coping thought.” I’m very grateful for that diagnosis, and I think it’s helped a lot of things get calmer in my life.
Writing these songs around that time, when I was still figuring out – What does this mean? How do I deal with this? What tools am I implementing? – a lot of the songs themselves are about pre-knowing what it was. Even in ‘Vulture Tree’, the line “Every car is a mirror now” – do you like Hop Along?
Oh, definitely.
There’s a line in ‘How Simple’: “I think I should stop checking myself out in the windows of cars.” I was listening to that song all the time, and I found myself on those walks – I’d walk around my neighborhood when I was back at my parents’ house in early 2021, maybe even earlier. I’d walk for hours in the middle of the night, stopping to look at myself in car after car. Then later, diagnosis: checking is a classic OCD thing. It’s not this mysterious thing – it’s just misguided coping. I can see where it lives in this record, which I think is cool and interesting. I didn’t want to focus on it too hard within press materials, because these songs have their own life now.
I can hear it sort of demystified in ‘Forcefed’. It’s introspective in a kind of literal, embodied way that feels different from other songs on the record. And then it lands on these horror-movie lines: “I’m eating my organs and I will let them sustain me.”
It’s funny you say “embodied” – it feels very physical, very visceral that way. That’s one where the subject matter often gets talked about in reductive, feminized ways, and my goal was to show how gross it is: lift up the rock, show the worms underneath.
More broadly, how do you see the relationship between horror and the band as a personal outlet?
Jo is a filmmaker – she’s made two horror movies so far – so she’s very immersed in that world, very attuned to that sense of tension and release. That’s something I’m inspired by because of her: building tension in a song or music video, then releasing it. There’s a lot you can take from filmmaking as a lyricist or musician. Jo also has this great platform where she talks about how music videos are the last form of experimental filmmaking available to the mainstream. Filmmaking in general is a big part of The Ophelias – we’re a very visual band, and that ties heavily into our world.
Speaking of release, ‘Shapes’ feels like a very intentional resolution for the album. Was it one of the last songs written for the record?
I can’t remember. I have no idea. I know ‘Cumulonimbus’ was one of the first. Actually, I think ‘Open Sky’ was the last one. It’s funny – I do feel a little parallel thematically between the opening and closing, where it’s like, you can take it how you want to take it, maybe someday this will all be good. And then at the very end, it’s like, “I’ll let things pass.” ‘Open Sky’ is maybe a little less chill about it all, but I do feel like it has that undercurrent of: I genuinely mean good for you. I wish ‘Shapes’ was the last one – that would’ve been great if it tied up perfectly.
Do you feel better equipped now to let things pass?
See, maybe my curse is that’s not my strong suit. I think it makes me a good writer, though. I always joke that we make music for people who can’t let anything go, ever. I’m getting better at it, but I do think maybe my lot in life is to be a reminiscer.
Music for moths and people who can’t…
Let anything go!
This interview has been edited and condensed for clarity and length.
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When considering living in Austin Texas, the city’s reputation as a dynamic blend of innovation, culture, and natural beauty often takes center stage. But is Austin a good place to live for everyone? The answer isn’t one-size-fits-all.
From its booming job market to its rising cost of living, Austin offers a mix of opportunities and challenges. In this expanded guide, we’ll dive deeper into what makes this city unique, helping you decide if living in Austin TX aligns with your lifestyle, budget, and long-term goals.
The Pros of Living in Austin Texas
Thriving Job Market Across Multiple Industries
Austin’s economy is a magnet for professionals, particularly in tech, earning it the nickname “Silicon Hills.” Giants like Tesla, Oracle, and Meta have established headquarters here, while startups flock to co-working spaces and incubators like Capital Factory.
The unemployment rate hovers around 3%, consistently below the national average, making living in Austin Texas ideal for career growth. Beyond tech, healthcare, education, and government sectors also thrive.
The University of Texas at Austin and Dell Medical School are major employers, and the city’s entrepreneurial spirit fuels small businesses. For newcomers, hiring reliable movers in Austin can ease the stress of relocating for a job.
No State Income Tax and Business-Friendly Policies
Texas’s lack of state income tax is a major draw, especially for high earners and remote workers.
While federal taxes are still required, residents can often find ways to file taxes for free, further reducing financial stress during tax season.
Additionally, Austin’s business-friendly regulations and lack of corporate tax attract employers, fueling job creation.
Diverse, Welcoming Communities
Austin prides itself on inclusivity. The city has a thriving LGBTQ+ scene, anchored by the Austin Pride Festival and events like QueerBomb.
Neighborhoods like East Austin and Mueller reflect cultural diversity, with murals, international eateries, and community centers celebrating Hispanic, Asian, and African American heritage.
The Cons of Living in Austin Texas
Soaring Housing Costs
Austin’s popularity has led to a housing crunch. Median home prices now exceed
550,000—651,800. Suburbs like Cedar Park and Pflugerville offer slightly lower prices, but competition remains fierce. First-time buyers should budget carefully and consider working with movers in Austin who specialize in navigating tight timelines.
Traffic Congestion and Limited Public Transit
Despite its growth, Austin’s infrastructure lags. The city ranks among the top 10 most congested in the U.S., with I-35 and MoPac Expressway experiencing daily gridlock.
While CapMetro’s recent $7.1 billion Project Connect aims to expand light rail and bus routes by 2030, most residents still rely on cars. Biking is popular downtown, but the summer heat can make it impractical.
Extreme Summer Weather
From June to September, temperatures regularly hit 100°F+, with high humidity amplifying discomfort. While winters are mild (average 60°F), the summer heat can be dangerous for outdoor workers, pets, and those unaccustomed to the South. Energy bills also spike as residents crank up air conditioning.
Strains from Rapid Population Growth
Austin’s population has ballooned by over 34% since 2010, leading to overcrowded schools, overburdened healthcare systems, and environmental concerns.
The city’s aging power grid, highlighted by 2021’s Winter Storm Uri, raises reliability questions, and droughts periodically threaten water supplies in the Colorado River basin.
Competitive Education and Childcare
While Austin boasts top-rated school districts like Eanes ISD, rapid growth has led to overcrowded classrooms. The average student-to-teacher ratio is 15:1, but some schools exceed 20:1. Additionally, childcare costs average $1,200/month—higher than the national average—making it a challenge for young families.
Cost of Living Breakdown: How Far Does Your Dollar Go?
Housing: 40% higher than the national average. A 1,500 sq. ft. home averages $550,000.
Utilities: Monthly bills average $150, thanks to mild winters.
Groceries: Slightly above average
4 for gallon of milk,3.50 for a loaf of bread.
Transportation: Gas prices are lower (3.30/gallon)
Compared to coastal cities, living in Austin TX remains affordable for tech workers, but teachers, artists, and service industry staff often face budget strain.
Job Market Deep Dive: Opportunities Beyond Tech
While tech dominates, healthcare (Ascension Seton, St. David’s), education (UT Austin, Austin ISD), and government (Texas State Capitol) provide stable careers.
Trade jobs are also in demand, with electricians and plumbers earning 25–40/hour. For job seekers, the Austin Tech Council and Workforce Solutions Capital Area offer resources.
Neighborhood Spotlight: Where to Call Home
Downtown: High-rises and luxury condos for urbanites. Average rent: $2,500/month.
East Austin: Artsy, walkable, and diverse. Median home price: $650,000.
Round Rock: Family-friendly with top schools. Median home price: $420,000.
Dripping Springs: Rural charm with Hill Country views. 30-minute commute.
Research crime rates and school ratings on NeighborhoodScout before choosing an area.
Education: Schools, Universities, and Lifelong Learning
K–12: Eanes ISD (98% graduation rate) and Round Rock ISD (95%) are top performers. Magnet schools like LASA High School rank among the nation’s best.
Higher Ed: UT Austin (No. 10 public university nationally) offers renowned engineering and business programs. Austin Community College provides affordable vocational training.
Resources: Check the Texas Education Agency for school report cards and enrollment guides.
Transportation: Getting Around the City
CapMetro: Buses and a limited rail line serve central areas. The new MetroExpress routes connect suburbs.
Biking: Over 50 miles of bike lanes, but summer heat limits usage.
Rideshares: Uber/Lyft are affordable downtown but surge during festivals.
For commuters, tools like CapMetro App and Google Traffic help navigate delays.
Final Tips for Relocating to Austin
Visit First: Spend a week exploring neighborhoods.
Secure Housing Early: Work with a local realtor to avoid bidding wars.
Plan for Heat: Invest in energy-efficient AC and window tinting.
Build a Network: Join groups like Austin Newcomers Club.
Planning on making Austin your new home? Movers in Austin can make it easier for you to move and give you time to explore your city while your belongings are being transported safely.
