Moreish Idols have carved out a unique position in London's burgeoning music scene. While their early material showcased a restless, jagged, angular, and rhythmically-focused sound, influenced by energetic post-punk, their second EP revealed a completely different side of the band. This evolution saw them assemble a looser constellation of ideas, blending hypnotic tremolo guitars, biting melodic enigmas, scholarly saxophone improvisations, and flexible rhythms. Their music sometimes evokes Pavement's Watery, Domestic era, sometimes the bucolic Canterbury scene, but always, always remaining true to the essence of Moreish Idols. *All In The Game* is imbued with Dan Carey's eccentric production ideas, largely inspired by the concept of time. For the title track, Carey asked Humphreys to play the same saxophone part at different tempos, recorded on tape that was itself moving at different speeds. He also suggested splitting one of the demos into two parts: the first became the opener *Ambergrin*, and the second, *Time's Wasting*, a slower, less saturated outro, designed to evoke the memory of the first. A nod to their first EP *Float*—which can be played in a continuous loop—the return of this track in a more ethereal and ghostly form illustrates how ideas, stories, and observations evolve with memories.
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