Neuronspoiler step into 2026 with a renewed sense of purpose and a long‑awaited new chapter. Fresh from recording “The House Always Wins” in Madrid with producer Will Maya, the London heavy metal band are entering what already looks like their strongest era yet. In this interview they talk through the making of the record, the stories behind its songs, the gear and studio choices that shaped its sound, and the momentum now building around their live plans and upcoming videos.

TheNwothm: Hey guys how are you doing? Hows 2026 treating you so far?

Neuronspoiler: Doing great and for us 2026 marks a new opportunity as it’s been far too long since we’ve been able to put out new music.

TheNwothm: Let us dig straight into the new record? How has the reception been so far?

Neuronspoiler: By every metric this is already shaping up to be our most successful album release ever. We don’t obsess over streaming numbers and online views but we understand it’s part of the music ecosystem that we have to operate in; the house owns it all. It’s clear that we learned from past mistakes and maximised our efforts to take advantage of what that system has to offer. What is most important to us is how our music reaches people and listeners are able to connect with our storytelling. 

TheNwothm: So let us talk about the record? When did you move into the writing phase for this record and how long did the process take from inception to the fully finished product?

Neuronspoiler: Our previous album done with Metallica producer Flemming Rasmussen (shameless name drop) was released during Covid and wasn’t really given the chance to reach as many people as we had hoped. For “The House Always Wins” we met up with Producer Will Maya in a Central London pub in February of 2023 to discuss our plans and see if he would be interested in working with us again. Thankfully he agreed, so we started the pre-production phase in London and ended up recording the album in Will’s studio in Madrid. 

We had started working on some new ideas in 2022 but bringing Will on board gave the band a new impetus and really aided the creative process.  Will played a fully active role in the pre-production process, joining us in the rehearsal room to hear the emerging songs and offering his expert touch at this early stage.  We were already cooking a great meal but Will certainly added some special sauce on top!

TheNwothm: Where did you record the new album and how did you know it was the right place for “The House Always Wins?” Who was the team behind putting it together?

Neuronspoiler: We started sending Will Maya our demos, ideas and rough outlines for new material in April 2023 and that was the start of the pre-production phase which lasted until September 2024 when we had a residency at Los Rosales studios in Madrid, Spain. Will’s studios are located in an unpronounceable place in Madrid called Moralzarzal – pray for the people who speak only English. That experience was memorable for being in a picturesque Spanish town with lovely rolling hills, blue skies every day and of course a bull fighting ring.

We worked with Will on our first full length album Emergence so we knew Will’s work ethic and powers of concentration. We briefly flirted with the idea of recording instruments ourselves, releasing demo-like songs monthly but in the end we opted for a no compromise approach to the recording of the album. 

We decided to record everything the old-school way: big tube amps and cabs cranked to maximum volume, an acoustic drum kit, and no shortcuts. We spent our time working on the songs and sleeping at Will’s studio in Spain while recording the album, surrounded by coffee, beer, barbecues, and heavy metal. It was an unforgettable experience. 

TheNwothm: Can you give our readers some insights into your gear setups? For instance your drum setup, the guitars, basses and rigs you used?  

Neuronspoiler: Given that the album was recorded abroad, our guitar players weren’t able to use their usual rigs.  Fortunately, Will’s studio is very well-furnished with quality gear and David and Adam were very happy with the Peavey 5150 which provides most of the tones for the album, both in analogue and digital form via a Kemper profile.  Adam in particular likes to mix digital and analogue in his live rig, so replicating this setup in the studio by using both the physical amp and a capture made perfect sense.  Will also had a classic Fender telecaster guitar which was the vehicle for the pristine clean sounds dotted throughout the album.

David was persuaded to keep his Jackson Kelly axe on British soil in favour of the greater versatility offered by his PRS, whilst Adam mainly used his tried and trusted Mayones guitar throughout the recording process with a sprinkling of the Jackson Adrian Smith signature model thrown in for good measure on some of the solos.

TheNwothm: Did it take long to dial in and get the sound you were looking for or were you pretty prepped before entering the studio?

Neuronspoiler: Will is a master of his craft and was fully prepared with some excellent Kemper captures, as well as having physically drawn on the 5150 to ensure he could easily get back to his favourite sound from it.  We were able to start laying down tracks within our first few hours there thanks to his preparation and experience with his gear.

TheNwothm: So let us talk about the songs on the album! Can you give us a runthrough of the tracks? Which were your favourites, the most challenging and which ones you think you will add to live setlists?

Neuronspoiler: Crazy Love – it’s a bit of mindless fun with a seriously huge chorus. JR presented the song to the band and it went through a few early suggestions which weren’t right. In the end we stripped away a lot of what was added and just allowed the song to breathe. If anyone genuinely picks up the phone and dials 666 looking for Crazy Love we want to meet that person.

Witness – based on the life and times of Dr Hawley Crippen who was the first criminal to be captured with the help of wireless telegraphy, hence the lyric “there was a telegram from Scotland Yard”. JR was inspired after being visited by Dr Crippen in a dream where he pleaded with JR that Dr Crippen was not a fraud and murderer. JR lives on the same street in North London as Dr Crippen did in 1910. The story of Dr Crippen, the women in his life, his attempted escape and subsequent capture make for a compelling and tragic story, worth having a read.

Spoils of War – A melodic romp through power and heavy metal influences. David came up with a huge chorus and was adamant that it must sound as huge as he had envisioned. Thankfully Will was able to make that magic happen. 

Crimson Tales – Francesco drew inspiration from the slow, heavy tempos of Candlemass, the epic atmosphere of Blind Guardian, and the dual-guitar harmonies typical of Iron Maiden. Interestingly, many listeners describe the track as having an American sound, even though a lot of his influences come from European acts. 

Barren Soil – Lyrically it is based on the novel “The Road” by Cormac McCarthy and covers a similar thematic.

Ascend to Death – Adam first recorded this song in his bedroom back in 2007 – it was just guitar, bass and programmed drums but when he presented the song to the band JR could not resist writing some acrobatic melodies to go with it.  As such, it is vocally one of the most challenging songs in Neuronspoiler’s entire discography, but it’s so much fun to sing.

This has been one of the tracks which has received the most positive feedback and attention so far and we’ve just given it it’s first live outing where it also went down a treat.  Whilst there was a significant focus on providing more simplified and straightforward songs on this album, this song demanded and earned its status as the longest and most epic song on the album. 

Hundred Years – This song was supposed to be recorded on our previous album but remained unfinished and in rough demo form for many years, not quite a hundred of them though. JR strongly advocated for this song for ages and Will Maya heard the demo and thought there was something present that needed to be worked on. Stylistically it’s probably one of Neuronspoiler’s most unique songs, not least because it’s the only song in our discography to feature a fade out at the end!

New Thing – pure rock n roll fun and a different taste in our musical menu. It’s deceptive because it’s sounds straightforward on the face of it but the format and sequence of the song structure is unconventional.

Self-Afflicted – Another song which Adam brought to the band from his early years, this one dating back even further to 2003.  It is the first Neuronspoiler song to be recorded in a lower tuning which adds yet another different soundscape for the band.  Menacing and broody with a metronomically tight groove, Self-Afflicted provides space and heaviness that has not always been present in our previous work.

Adam originally wrote Self-Afflicted as a scathing critique of the whiny emo/nu-metal culture which felt all-encompassing at the time, but with minor edits the lyrics were repurposed to fit seamlessly into the album by offering the sneering perspective of ‘the house’ towards those of us who can’t help but throw ourselves against the wall despite knowing the odds we’re up against.

Let the sun… – this one is a proper classic rock track with an anthemic chorus.  The outro brings to mind Opeth in some of their more stripped back, melodic moments and serves as the perfect swansong for the album.