Exploding Flowers has often found itself mentioned alongside revered names such as Big Star, The Soft Boys and the many bands associated with New Zealand's legendary Flying Nun Records. Rather than shy away from those comparisons, the band embraces them.

They're lifelong admirers of Big Star, Robyn Hitchcock's work with The Soft Boys, and Flying Nun's rich catalogue, which extends well beyond its jangly pop reputation to groups such as Spines, Alpaca Brothers, Pin Group, The Fold and Dead C. Being mentioned in the same breath is undoubtedly flattering, they say, but they're equally keen to point out that Exploding Flowers has always carved out their own identity. While Big Star and The Soft Boys often drifted into blues rock, boogie rock or even Zappa-esque territory, Exploding Flowers remain firmly rooted within the broad world of pop music. As for Flying Nun, its roster has always been so stylistically diverse that the comparison feels more like a broad point of reference than a defining characteristic.

That independent streak extends far beyond their sound. The band has built a devoted following without relying on the traditional music industry playbook, and for them, independence has always been about freedom rather than convenience. They acknowledge that making music inevitably involves sacrifices – recording, touring and releasing records all come at a cost – but remaining fiercely independent allows them to exist entirely on their terms.

Freedom, they explain, isn't some hollow slogan; it's about having the ability to create the music they want, live authentically and pursue a path that reflects who they are both artistically and personally. That search for freedom has become one of the recurring themes running through their lyrics.

Their latest single, Spinning Carousel, arrives just ahead of their UK tour and serves as the first glimpse of the band's next chapter. There's no elaborate concept behind its selection, they insist – it simply felt like the right song. More importantly, they hope listeners connect with it and, if only for a few minutes, find a little joy. If the song can brighten someone's day, they've achieved exactly what they set out to do.

For songwriter Sharif Dumani, whose résumé includes collaborations with everyone from Alice Bag to Cody Chesnutt, working alongside such varied musicians has broadened his perspective as both a guitarist and songwriter. Playing with different artists has made him a stronger musician while satisfying his curiosity and preventing creative stagnation. Yet despite those experiences, Exploding Flowers has always remained the constant. The stories and lessons gathered from countless recording sessions and performances have all found their way back into the band, but its trajectory has always been its own. That's one reason, Dumani believes, why Exploding Flowers has endured while many other projects have naturally come and gone.

The band's increasingly expansive arrangements, featuring piano, organ, synthesisers and vibraphone alongside chiming guitars, stem from a simple philosophy: every song deserves whatever serves it best. If budget were no obstacle, they admit they'd happily employ lush string sections on every recording – and hint that future sessions may head even further in that direction. Their approach to arranging comes from years of listening to, studying and working across a wide spectrum of music, allowing influences from many different genres to filter naturally into their writing.

That same mindset shapes their live performances. Whether they're playing a major festival such as Glas-Goes Pop or squeezing into intimate DIY venues like JT Soar or Delicious Clam, their approach remains exactly the same. A stage is simply a stage, regardless of its size. Their goal is always to deliver the best performance possible, connect with listeners and introduce new audiences to their music. Having operated as a deeply DIY band from the beginning, they feel equally comfortable setting up on a floor in a tiny room as they do playing a larger stage, although they admit a quality sound system is always welcome.

The UK tour also brings the opportunity to share bills with artists they genuinely admire. Dumani is particularly excited to finally perform alongside Rachel Love, whose work with Dolly Mixture and Railcard he has long regarded as exceptional, describing her as a phenomenal songwriter. Equally meaningful is the chance to reunite with Jowe Head, whom he previously backed on guitar and synthesiser during a California tour in 2016. As a lifelong admirer of Swell Maps, Television Personalities, Househunters and Head's solo work, Dumani sees those influences reflected in Exploding Flowers' own musical DNA, making the forthcoming shows as exciting for the band as they will be for audiences.

Their forthcoming album also benefits from the mastering expertise of Ride's Mark Gardener, whose reputation as both songwriter and engineer proved invaluable. The band's analogue reel-to-reel recording process immediately resonated with Gardener, allowing him to enhance rather than alter the recordings. His attention to detail extended from removing unwanted noise to enriching what was already a warm analogue sound, and the band speak glowingly of both his technical skill and musical sensitivity.

Although Los Angeles isn't typically viewed as the spiritual home of jangly guitar pop, Exploding Flowers believe geography inevitably shapes creative work in subtle ways. Living in California influences not only the music but also the band's visual identity and outlook. They note the recent wave of jangly guitar bands emerging across the state with enthusiasm but also point out they've been following their own path since forming in 2011. Rather than attach themselves to any particular scene, they've preferred to remain open, inclusive and willing to share stages with artists from many different musical backgrounds, believing diversity makes for more interesting bills than stylistic uniformity.

Now preparing to release their fourth album, the band can clearly hear how much they've evolved since their debut. The addition of keyboard and vibraphone player Happy significantly expanded their sonic palette, bringing textures that simply weren't possible in the band's earliest incarnation. They also feel their songwriting has matured. While the early records carried a more aggressive energy, today's material retains its power but channels it more thoughtfully. Longevity has also given audiences time to discover the band in an increasingly crowded musical landscape where many promising artists disappear before finding their audience. Exploding Flowers joke that they've adopted "the cockroach approach" – surviving everything in the hope that persistence ultimately pays off.

Their broad musical influences naturally reflect the band's own backgrounds. With members whose families trace their roots to Japan, Costa Rica and Armenia, international perspectives are woven into the group's identity from the outset. Rather than consciously borrowing from specific traditions, they simply absorb music from around the world and allow those influences to emerge naturally.

They also believe audiences in the UK often approach independent music differently from listeners in the United States. Historically, Britain's independent charts and thriving underground scene gave alternative music a visible cultural presence that never quite existed in America, where the industry has long exercised greater control over what reaches mainstream audiences. Today's streaming platforms and algorithms have amplified that influence globally, shaping not only how people consume music but also how they think about it. The band hope the UK's long-standing openness towards independent artists continues to thrive.

Emotion has always been central to Exploding Flowers' songwriting. Their music deliberately balances warmth with melancholy because their ambition extends beyond simply making songs to dance or party to. They want listeners to feel something genuine, whether that's joy, sadness, nostalgia or playfulness. In a cultural climate they describe as increasingly dominated by empty displays of bravado – both musically and politically – they're determined to offer something more emotionally nuanced.

Finding the right label has also played a significant role in the band's recent success. They describe Meritorio Records as an ideal partner, praising its unwavering commitment to independent music and the genuine support it offers its artists. For Exploding Flowers, the label belongs alongside influential independent imprints such as Dischord, Slumberland, K Records, Merge, Goner and In The Red – labels that built lasting identities by championing underground music rather than chasing trends.

Looking ahead, their ambitions remain remarkably straightforward. When listeners finally hear the new album, they simply hope the biggest surprise is that Exploding Flowers continue to improve. They're determined not to become one of those bands remembered only for a promising debut. Instead, they hope each release surpasses the last, with the belief that their greatest record should always be the next one – or perhaps, if they're lucky, the very last.


UK Live Dates

7th August - Brighton, The Prince Albert (with Rachel Love and Telecom)

8th August - London, Waiting Room (with Rachel Love, Jowe Head and Infernal Trinity

10th August - Nottingham, JT Soar (with The Leaking Machine and Terza Rima)

11th August - Sheffield, Delicious Clam (with Sumos and The Xoxos)

12th August - Leeds, Lending Room (with The Gentle Spring, Static Caravan and The Seven Inches)

13th August - Newcastle, Cluny 2 (with Dancer and Knitting Circle)

14th August - Glasgow, Glas-Goes Pop

Tickets available here.