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65daysofstatic (often abbreviated as 65dos, 65days, or simply 65) are a post-rock band from Sheffield, England. Formed in 2001, the band is composed of instrumentalists Paul Wolinski, Joe Shrewsbury, Rob Jones and Simon Wright.

Key Information

The band's music has been described as noisy, electronic, guitar-driven instrumentals, interspersed with live drums and off-beat sampled drums akin to those of IDM artists, although they have continued to evolve their sound by incorporating electronic music, drum and bass and glitch music. They have been described as, "a soundtrack to a new dimension, where rock, dance and electronica are equals."[1]

The band's first album, The Fall of Math, was released in September 2004, to critical acclaim, described as "an album that can retain the dynamics, fraught tension and climactic explosiveness of its peers and influences, whilst still sounding like one of the most urgent and direct long-player releases of the year."[2] The band released a further five studio albums, One Time for All Time, The Destruction of Small Ideas, We Were Exploding Anyway, Wild Light, replicr, 2019, and a soundtrack, Silent Running.

During the Game Awards 2014, it was announced that they would be providing the soundtrack for the video game No Man's Sky, followed by a live performance.[3] An album containing music from the soundtrack, entitled No Man's Sky: Music for an Infinite Universe, was released in August 2016. During September 2017, the band announced new work involving algorithmic techniques, titled Decomposition Theory.

History

[edit]

Formation and early years (2001–2003)

[edit]
Joe Shrewsbury in 2009

The band was formed by Paul Wolinski and Joe Shrewsbury in 2001 with Rob Jones and Simon Wright joining in 2003.

Paul Wolinski in 2009

Much of their early work consists of remixes and mash-ups of mainstream pop artists such as Christina Milian, Natasha Bedingfield and Justin Timberlake. These releases would come to be titled Unreleased/Unreleasable. One such mash-up, "White Noise Christmas" (for which a video later appeared on their DVD Volume 3: The Kids Have Eyes), featured on the first Boomselection compilation CD. Some of these were unofficially released on Unreleased/Unreleasable Volume 1 and Volume 2 in 2003 and 2005 respectively. The band also wrote their own music, releasing their first EP, Stumble.Stop.Repeat, in December 2003 on their own label, Dustpunk Records. There has been much online debate as to the exact number of copies printed but it has been estimated to be as low as 200.[citation needed] In 2019, the album was released digitally as part of a monthly supporter subscription, to promote the release of replicr, 2019.[4][5]

The Fall of Math and One Time For All Time (2004–2005)

[edit]

Recorded at 2fly studios in Sheffield in four days their first album was released on 20 September 2004. To promote the album, the band released a single, "Retreat! Retreat!", in November 2004, and embarked on two tours, firstly around the time of release and then again in January and February 2005. Their second EP, Hole, was released in March 2005, with the title-track taken from The Fall of Math and the band toured again in April and June of that year, with new material played in the latter tour.

During summer 2005, the band returned to the studio, intending to write an EP as a follow-up to The Fall of Math. However, the resulting tracks were ultimately released as their second album in October 2005. At the same time the band released a DVD, the third release in the Unreleased/Unreleasable series, entitled Volume 3: The Kids Have Eyes. This DVD was their final release on Dustpunk Records. To promote this album, 65 embarked on another UK tour in October, their fourth of the year, with support again from YMSS.

"Radio Protector" (2005)
"Radio Protector" from One Time for All Time
Problems playing this file? See media help.

Although "Radio Protector" was the only track released as a single, a promotional video was also made for "Drove Through Ghosts To Get Here". This video was made by Medlo, their long-time collaborators, and Lord Bunn, an artist responsible for many of their T-shirt designs.

"Radio Protector" was the only track from One Time for All Time issued as a single. Released on 7" in February 2006, it was limited to 1500 numbered copies, with the first 1000 having a unique polaroid picture as the artwork. The remaining 500 have a digital copy of the thousandth picture as their artwork. An error in the numbering meant that each record is denoted as being x of 3000 instead of 1500. The band auctioned off the copy numbered 1/3000 on eBay, with the proceeds going to Friends of the Earth. A further UK tour, entitled the "Radio Protector Tour", coincided with this release. This tour was sandwiched between further dates by the band where they supported Hundred Reasons.

The Destruction of Small Ideas (2005–2007)

[edit]

In 2005, 65daysofstatic remixed Alkaline Trio's single "Burn" from the album Crimson. The track appears on one 7" vinyl out of a set of two. In the same year, the band also remixed "...Spooks the Horse", a track by Youthmovie Soundtrack Strategies, for inclusion on the reissue of their first album, Hurrah! Another Year, Surely This One Will Be Better Than the Last; The Inexorable March of Progress Will Lead Us All to Happiness. After touring for most of 2006, 65 returned to the studio in December to record their third LP. Recording was completed shortly before Christmas, with mixing taking place in January 2007.

65daysofstatic live in Cork in 2007.

The Destruction of Small Ideas, was released on 30 April 2007. The album has contributions by members of The Mirimar Disaster, Digitonal and Circle Takes the Square. The track "Don't Go Down to Sorrow" was released as a single three weeks before this on 9 April,[6] backed by a new song, "Morning in the Knife Quarter", and a remix of "The Major Cities of the World Are Being Destroyed One by One by the Monsters", a version of which appeared as a B-side on the "Retreat! Retreat!" single. This single was released on 21 March 2007 in Japan, while the album was released there on 23 April. The video for the single was made by Medlo.

An EP, The Distant and Mechanised Glow of Eastern European Dance Parties, was released on 7 April 2008, containing four new tracks, two being alternative versions of the title track, itself taken from the 2007 album The Destruction of Small Ideas.[7] An alternate reality game was launched to promote the release, while the band also played their first UK shows for six months.

The band embarked on a short tour of the UK and Europe in support of the EP that April, during the break between The Cure's European and American tours, in which they are the main support act.

Escape from New York, We Were Exploding Anyway, and Heavy Sky EP (2008–2010)

[edit]
Rob Jones in 2009

In May and June 2008, they supported The Cure on their North American tour (a tour re-arranged from 2007). A live album, Escape from New York, was released on 20 April 2009 in the UK and 18 August 2009 in the US, featuring recordings from the Madison Square Gardens and Radio City Music Hall gigs.[8] A small tour around the UK to demonstrate new material started in April 2009, followed by a European tour.

65daysofstatic's music was used to score the first radio adaptation of Kurt Vonnegut's novel Slaughterhouse-Five.[9] The adaptation was broadcast on 20 September 2009 by BBC Radio 3 and 15 February 2010 on Radio 4.[10]

The band took just seven days to record all the material for their fourth album, We Were Exploding Anyway, released in April 2010.[11] A Japan-only maxi-single, "Weak4", was released prior to the album launch.[12] First reviews of the album state that the band is going further away from the post-rock sound of their beginning and turning toward an electronic style, using more synthesizer and less electric guitar and live drums.[13]

It was announced in late 2010 that there would be another release from the band, entitled Heavy Sky EP. This release contains other recordings from the Exploding sessions which hadn't found a place on the album, as well as a cut down edit of "Tiger Girl". The EP was made available to pre-order in a number of bundles, ranging from just the album to a "Super-Deluxe" package including exclusive merchandise. In January 2011 they released the Japanese version including a wordless version of "Come to Me", an alternative version of "Wrong Shape" and a new track, "String Loop". In July 2012 it was announced that a deluxe version of 'We Were Exploding Anyway / Heavy Sky' would be released in Australia through Bird's Robe Records, featuring the additional tracks 'Memorydress' and 'After San Francisco' as well as a new remix of 'Tiger Girl' by Australian instrumental group sleepmakeswaves.

Silent Running and Wild Light (2010–2014)

[edit]

In July 2011, the band announced their intention to fund a studio recording of the Silent Running soundtrack by raising $7500 through the crowd-funding website Indie Gogo. By the end of the funding period they had actually raised over $27,000. Silent Running was released in mid-November 2011 as a numbered, limited edition vinyl LP to those Indie Gogo funders who had paid for this option, and as a digital download from the band's website.

On 30 July 2013, the band announced via Vimeo that their sixth album would be titled Wild Light, with a release scheduled for September 2013.[14] The album went on to receive critical acclaim (with a score of 82 on Metacritic). Two singles were released from the album, "Prisms" and "Taipei".

No Man's Sky: Music for an Infinite Universe (2016)

[edit]

In 2016, the band worked with developers of the procedural sci-fi exploration game No Man's Sky to create an in-game soundtrack which itself worked procedurally: the band recorded sounds and melodies (often with multiple variations) which were then combined dynamically by the game to create music in response to situations and player actions.[15][16] The band also created ten original works and six soundscapes from the material and released them on the game's companion soundtrack album, No Man's Sky: Music for an Infinite Universe, in August 2016 as digital and retail formats.[17] iam8bit also released the soundtrack on a 2 LP-disc vinyl record set alongside the game's release.[18]

Decomposition Theory, Unreleased/Unreleasable Volume 4, and replicr, 2019 (2017–present)

[edit]

In October 2017, the band announced a new work entitled Decomposition Theory or How I Learned to Stop Worrying and Demand the Future, featuring algorithmic music and live coding techniques, with the first performances taking place as part of Sheffield's Algomech Festival during November 2017.[19] In Autumn 2018, the band toured across the UK and Europe in support of the project.[20]

In April 2019, 65daysofstatic announced Unreleased/Unreleasable Volume 4: A Year of Wreckage, consisting of monthly extended plays released throughout 2019, composed from the Decomposition Theory project.[21] The first EP in the series, Kazimir, was released on 1 May 2019. The band also announced a separate full-length album for release in Autumn 2019.[22] The title of this album, replicr, 2019, was announced in July, alongside a release date of 27 September 2019.[23]

On September 18, 2025 they released No Man’s Sky: Journeys which continues the band's long-standing collaboration with the video game No Man's Sky.[24][25]

Name

[edit]

In their early days the band was known as 65*daysofstatic, though this version (with asterisk) was never used on any release. The origin of the name is unclear, with the band once stating that they took their name from an unreleased John Carpenter film called Stealth Bomber, starring Kurt Russell, that they had formed to create the soundtrack to.[26][27] However, the lack of any further information regarding the film's existence makes this unlikely. Other theories include that the band took their name from the CIA's 1954 Guatemalan coup d'état during which the CIA put a white book instrument to use according to which 65 days of disabling the communication systems of a nation while spreading propaganda is enough to overthrow a country,[28] or, as put forward by New Statesman, that the name was derived from psychological experiments conducted in the 1950s to 1960s, in which it was found that exposure to 65 days of white noise (or static) would render the listener insane.[29]

Live performances

[edit]
Simon Wright in 2009

The band members have repeatedly stated that they enjoy playing live. Towards the end of 2005, in a mail-out to subscribers of their newsletter, they said that they were "a little disappointed" only to have played 91 shows in that year. They have received critical acclaim from independent music websites, such as Drowned in Sound, for their live shows.[26]

In 2006, they played to their biggest crowd yet at that year's Summer Sonic festival in Japan, alongside such bands as Metallica, Lostprophets, Linkin Park, and Deftones. 2006 also saw their first European tour, playing in Belgium, The Netherlands, Germany, Italy and France. They have performed frequently with live visuals from Medlo, long-term collaborators with the band. They made guest appearances on the band's 2006 and 2007 UK tours, and also produced the majority of their music videos, including "Radio Protector", "Drove Through Ghosts to Get Here" and "Don't Go Down to Sorrow".

Having played their first American shows at SXSW in March 2007, they embarked on their first American tour supporting Fear Before the March of Flames[30] in July and August 2007. Following that was "The Destruction of Small Ideas Tour Part 2", which saw them play venues across Ireland, the UK, and several other European countries.

In May and June 2008, the band toured the US as the supporting act for The Cure. During this same time period the band also performed as a headliner in smaller venues.

In early 2009, the band announced a series of live dates in the UK to preview new material for the follow-up to The Destruction of Small Ideas, this was followed by a live album, Escape from New York, released in April 2009.

The band were to embark on their first world tour in March 2010, playing shows in Asia (Malaysia, Singapore, Taiwan, Japan), America (at the SXSW festival in Austin, Texas), and Europe. However, outside of Europe all shows were cancelled except for the Japanese dates due to a family emergency within the band.[31]

In May 2011, the band provided a live score to the film Silent Running as a part of the Sensoria Music & Film Festival.[32]

In August 2012, the band announced their first ever Australian show, as part of the 2012 Peat's Ridge Festival in December. Details of a full Australian tour were then announced, with the band visiting Sydney, Brisbane, Melbourne and Perth in January 2013.[33]

In October 2013, the band announced several new UK dates for March 2014. They visited Exeter, Southampton, London, Norwich and Glasgow. The London show at Koko was The Fall of Math anniversary show and comprised two sets: the first being The Fall of Math in its entirety.[34] Later on, the band closed their 2014 tour with another similar The Fall of Math anniversary gig at Manchester Cathedral.

65kids

[edit]

Fans of the band are known as '65kids', although the band has also been known to use the phrase.[35] The name was also used by now defunct fansite 65kids.com which hosted ‘torrents, music videos, unreleasable pop mashup albums, remixes, DVDs, tour diaries, live recordings, and radio sessions'.[36]

Discography

[edit]

Albums

[edit]

Soundtracks

[edit]

Compilation albums

[edit]
  • The Last Dance (2012)
  • Exvironments (2020)
  • Disquiet (2020)
  • Utopian Frequencies (2020)

Live albums

[edit]
  • Escape from New York (Double disc – Live and DVD) (2009)
  • Decomposition Theory Live 091117 (2020)
  • Wild Light (Live in Manchester 150923) (2023)

Singles and EPs

[edit]
  • Play Nice Kids (EP, 2001)
  • Stumble.Stop.Repeat (EP, 2003)
  • "Retreat! Retreat!" (2004)
  • Hole (EP, 2005)
  • "Radio Protector" (2006)
  • "Don't Go Down to Sorrow" (2007)
  • "The Distant and Mechanised Glow of Eastern European Dance Parties" (2008)
  • "Weak4" (2010)
  • "Crash Tactics" (2010)
  • Heavy Sky (EP, 2011)
  • Taipei (2014)
  • popular beats (2019)
  • trackerplatz (2019)
  • five waves (2019)
  • "Under the Summs" (EP, 2021)
  • "Tomorrowd" (EP, 2021)
  • "Available Data" (EP, 2021)
  • "Mimik" (EP, 2021)

Unreleased/Unreleasable

[edit]
  • Volume 1: 65's.late.nite.double-a-side.college.cut-up.trailers.for.the.looped.future. (2003)
  • Volume 2: How I Fucked Off All My Friends (2005)
  • Volume 3: The Kids Have Eyes (DVD) (2005)
  • Volume 4: A Year of Wreckage (2019)
    • 4.1: Kazimir (May 2019)
    • 4.2: Fugue State (June 2019)
    • 4.3: Looped Future (July 2019)
    • 4.4: Ptolyweirds (August 2019)
    • 4.5: Exvironments Pt.1 (September 2019)
    • 4.6: Miniatures (October 2019)
    • 4.7: 7over8 (November 2019)
    • 4.8: Decomp Sketches (December 2019)
    • 4.9: Tempo Heavy (January 2020)
    • 4.10: Resistor/Noise (February 2020)
    • 4.11: Exvironments Pt.2 (March 2020)
    • 4.12: Endings (April 2020)

B-sides and rarities

[edit]
  • Volume 1: '...Then We Take Japan' (CD + DVD, 2006)

Unofficial

[edit]
  • RMXSCEE (2008) (A collection of remixes by the band)[7]

Music Videos

[edit]
  • Retreat Retreat (2004)
  • Hole (2004)
  • Drove Through Ghosts (2005)
  • Don't Go Down to Sorrow (2007)
  • PX3 (2010)
  • Prisms (2013)
  • Taipei (2014)
  • Trackerplatz (2019)
  • Popular Beats (2019)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

65daysofstatic

View on Grokipedia
from Grokipedia
65daysofstatic is an band from , , formed in 2001 by guitarists Joe Shrewsbury and Paul Wolinski, along with Iain Armstrong. The group, which later solidified with drummer Rob Jones and bassist Simon Wright after Armstrong's departure, is known for its experimental sound that fuses traditional rock instrumentation with electronic influences such as drum'n'bass, , , and IDM. Their music is predominantly , characterized by intricate math-rock rhythms, atmospheric builds, and noisy, dynamic textures that evoke both urgency and expansiveness. The band's debut album, The Fall of Math (2004), established their reputation in the scene through tracks blending programmed beats with live instrumentation, released via the independent label Monotreme Records. Subsequent releases like One Time for All Time (2005), We Were Exploding Anyway (2010), and Wild Light (2013) expanded their palette, incorporating piano, synthesizers, and field recordings while maintaining a focus on emotive, non-vocal compositions. In 2021, they adopted an AI-assisted approach to composition with the "Wreckage Systems" project, using algorithms to generate musical ideas, which influenced later works and highlighted their innovative blend of technology and artistry. 65daysofstatic gained wider recognition through soundtrack contributions, notably composing the original score for the video game in 2016, a sprawling electronic-ambient work tailored to the game's procedurally generated universe. More recently, in 2025, they released Journeys, a new album expanding the soundtrack with themes of exploration and humanity amid cosmic vastness. Throughout their career, the band has toured extensively, emphasizing live performances that recreate their layered sound with precision and intensity, solidifying their niche as pioneers in , genre-blurring music.

History

Formation and early releases (2001–2005)

65daysofstatic formed in , , in 2001 by guitarists Paul Wolinski, Joe , and Iain Armstrong. Drummer Rob Jones joined later that year, bassist Simon Wright in 2003, and Armstrong departed in 2003, solidifying the core quartet that would define the band's early sound. Drawing from influences, the group emphasized intricate guitar work, dynamic builds, and rhythmic complexity without vocals, setting the stage for their experimental approach. The band's earliest output consisted of independent demos and limited-run releases, culminating in their debut EP Stumble.Stop.Repeat, issued on December 1, 2003, via their own Dustpunk Records imprint. Limited to around 1,000 copies, the EP featured five tracks blending noisy electronics, glitchy percussion, and angular riffs, such as "play.nice.kids" and "thrash waltz," which showcased their raw, improvisational energy. This release marked their initial foray into self-production and helped build a following through local performances in Sheffield's underground scene. Their breakthrough came with the debut full-length album The Fall of Math, released on September 20, 2004, by Monotreme Records. Recorded in just four days at 2fly Studios in , the album fused expanses with math rock's polyrhythmic precision and IDM-inspired glitches, highlighted by tracks like "Retreat! Retreat!"—a frenetic opener driven by interlocking guitars and drums—and "The Fall of Math," which layers tense atmospheres over propulsive rhythms. Critics praised it as a vibrant fusion of genres, with Louder noting its role in elevating 's intensity during a period when the style was gaining niche traction in the UK, calling it a "breakthrough" for its dynamic urgency and technical flair. Clash echoed this, describing the September release as establishing the band as innovators in the British instrumental landscape. Following the album's success, 65daysofstatic issued One Time for All Time on October 24, 2005, again via Monotreme Records, which introduced a noticeable shift toward electronic elements like breakbeats and textures alongside their rock foundation. Tracks such as "Piano Fights" incorporated piano-driven motifs and synthesized pulses, expanding the sonic palette while retaining the quartet's emphasis on live instrumentation and emotional crescendos. To support these early releases, the band undertook initial tours, performing over 40 shows in 2004 alone at venues like The Wheatsheaf in and The Rhythm Factory in , honing their high-energy live sets that mixed album material with improvisations. These tours, often alongside like-minded acts, solidified their reputation in the community and paved the way for broader exposure.

Mainstream recognition and expansion (2006–2010)

Following the success of their earlier work, 65daysofstatic achieved broader recognition with the release of their third studio , The Destruction of Small Ideas, on April 30, 2007, via Monotreme Records. This marked their final full-length release on the label and showcased a more guitar-driven sound with intricate compositions, blending elements with glitchy electronics. Critics noted its ambitious scope but mixed execution, with describing it as falling short of the band's self-imposed high standards despite moments of innovation. The received U.S. distribution through import channels shortly after its UK launch, helping to expand their audience across the Atlantic. The band capitalized on this momentum with extensive touring in 2007 and 2008, including appearances at major European festivals such as Dour Festival in . Their international profile grew significantly during a high-profile North American support slot on The Cure's tour from May to June 2008, where they performed at venues like in New York and . These shows captured the band's energetic live dynamic and were documented on the live album , released on April 20, 2009, also via Monotreme Records, which included a bonus DVD of tour footage. Reviewers praised the release for highlighting the band's stage prowess, though some critiqued the variable sound quality; called it "smirk-worthy" for its bold documentation of their U.S. breakthrough. By 2010, 65daysofstatic shifted labels to Hassle Records for and Superball Music for other territories, signaling a move toward greater independence in production and distribution. Their fourth studio , We Were Exploding Anyway, arrived on April 26, 2010, emphasizing atmospheric textures and experimental electronics while retaining their signature intensity. The record earned strong critical praise for revitalizing their sound, with awarding it an 8/10 and lauding its "unabashed power and inexorable sonic passion." Later that year, on October 17, the Heavy Sky EP followed via Superball Music, featuring outtakes and new material from the album sessions that bridged their evolving style toward more ambient explorations. The EP received solid reviews, including a 7/10 from , which highlighted its "intense, sublime beauty" despite serving as a companion piece. These releases and festival slots, such as and Metamorphose in , solidified the band's mid-career expansion and growing global following.

Soundtrack work and experimentation (2011–2015)

In 2011, 65daysofstatic ventured into soundtrack composition with , an alternate score for Douglas Trumbull's 1972 of the same name. Commissioned by the Film Festival for a live performance, the project replaced the film's original folk-infused music with the band's style, incorporating swelling electronic textures and dynamic builds to enhance the eco-sci-fi narrative. Released on November 14, 2011, via the band's Dustpunk Records imprint and funded through an campaign, the album features tracks like "" and "Space Theme" that blend cinematic grandeur with the group's signature rhythmic intensity, creating a tense, atmospheric accompaniment. The band continued exploring film and game soundtracks during this period, marking early forays into procedural and adaptive scoring techniques. Their music accompanied the 2013 debut reveal of the video game at the Video Game Awards, introducing ambient electronic layers that foreshadowed deeper integrations of synthesizers and elements in . These contributions emphasized the band's shift toward that supported visual storytelling, with influencing subsequent cinematic experiments. This soundtrack focus informed Wild Light, the band's fifth studio album, released on September 16, 2013, in the UK and via Superball Music, and October 29, 2013, in the United States. Departing from prior dance-inflected works, the album evokes themes of cosmic isolation and ethereal illumination through tracks such as "Safe Passage," which layers piano motifs with expansive guitar swells, and "Prisms," featuring refractive electronic pulses amid crescendos. Recorded in , it integrates analog synthesis and processed guitars to craft a spacious, otherworldly , blending dark electro elements with luminous melodies. To support these releases, 65daysofstatic undertook extensive touring, including a 2013 Australian run with performances in , , Perth, and at Peat's Ridge Festival, alongside European dates culminating in a main-stage appearance at on August 3 in , . These shows highlighted live renditions of soundtrack material, adapting modular setups for on-stage electronic improvisation. Internally, the creative process evolved with greater emphasis on hardware like analog synthesizers and software for beat programming, allowing for fluid experimentation in texture and rhythm during Wild Light's production. Critics noted this era as a pivotal turn toward ambient, soundtrack-oriented music, praising as a "fascinating take" on re-scoring classics and Wild Light as an "ambitious, cohesive" effort with cinematic depth and sonic freedom. The works were lauded for their rewarding complexity, positioning the band as innovators in post-rock's intersection with and design.

Collaborations and independent phase (2016–2019)

In 2016, 65daysofstatic collaborated with to create the soundtrack for the No Man's Sky, resulting in the No Man's Sky: Music for an Infinite Universe. This project marked a significant evolution in their compositional approach, involving the recording of over 500 audio stems that are algorithmically mixed in real-time within the game to generate an effectively infinite variety of musical arrangements tailored to procedural planetary environments. The band's keyboardist Paul Wolinski described the process as developing custom software tools to align with the game's systems, allowing the music to dynamically respond to player exploration without traditional linear scoring. Released on Laced Records, the compiles 16 tracks divided into two discs—one featuring full compositions and the other ambient suites—showcasing the band's intensity blended with electronic textures to evoke cosmic vastness. The received widespread critical acclaim for its innovative use of algorithmic techniques, with reviewers praising its ability to capture the game's themes of discovery and isolation while pushing boundaries in interactive music design. Publications highlighted the album's immersive quality, noting how the generative elements create a sense of endless progression that mirrors the game's , earning it comparisons to pioneering electronic works for its scale and ambition. This collaboration solidified 65daysofstatic's reputation in game audio, influencing subsequent procedural in the industry. Following this, the band embarked on Decomposition Theory in 2017, an experimental project exploring algorithmic music in live performances. Presented initially at the AlgoMech Festival in , it evolved into a series of shows where software-driven systems generated evolving compositions from a core set of musical elements, blending chamber-like intimacy with and aesthetics. The project culminated in a tour in 2018, with a final performance in in March 2019, emphasizing live improvisation guided by rather than fixed setlists. A live recording from 's Millennium Galleries captures this iteration, underscoring the band's interest in "mapping a geometry of " through computational means. During this period, 65daysofstatic shifted toward greater independence by establishing 65labs as an in-house arm for experimental outputs, facilitating self-releases via digital platforms like . This enabled projects such as Unreleased/Unreleasable Volume 4: A Year of Wreckage (2019), a subscription-based series of 12 monthly EPs that delved into glitchy, fragmented electronic soundscapes drawn from archival and new material. Culminating in the full-length album replicr, 2019—released on Superball Music but rooted in 65labs' ethos—these works focused on themes of replication and digital decay, featuring tracks like "pretext" and "ultraanemik," which layer urgency with ambient electronics. With limited touring confined to select European dates and a pivot to direct-to-fan , this phase allowed the band to prioritize artistic experimentation over traditional label structures.

Recent releases and revivals (2020–2025)

Amid the global disruptions caused by the , 65daysofstatic adapted their creative process to remote collaboration and virtual platforms, releasing ambient electronic works that reflected the isolation of . In November 2020, the band issued the companion albums Disquiet and Utopian Frequencies, compilations of ambient-oriented pieces from their "A Year of Wreckage" project (), repurposing longer experimental tracks developed during the early pandemic. These releases marked a shift toward algorithmic and procedural music generation, with much of the material developed during periods of enforced separation that limited traditional studio sessions. The band supplemented physical outputs with live-streamed performances via their Wreckage Systems initiative, allowing real-time interaction with fans while navigating travel restrictions. In 2022, 65daysofstatic aggregated miscellaneous excerpts, in-progress tracks, and noise experiments from their archives into the compilation , the fifth EP in the Wreckage Systems series, further exploring fragmented, debris-like sonic structures born from the pandemic era. The band's revival gained momentum in 2023 with Wild Light (Live in 150923), a full recording of their tenth-anniversary performance of the 2013 album Wild Light at Manchester's New Century Hall, capturing the energy of their return to live venues post-lockdown. Reissues in 2024 broadened accessibility, including the streaming debut of their 2011 soundtrack —an alternate score for the sci-fi film—and updates to Utopian Frequencies and Disquiet now available on major platforms beyond and . Early 2025 saw the continuation of the Wreckage Systems project with the streaming release of Available Data on January 3, featuring procedurally generated tracks that incorporated fan-favorite elements from the live broadcast , alongside the EP Mimik on February 7, described as an ode to denied physical and liminal spaces with its techno-infused, non-linear compositions. Later that year, 65daysofstatic contributed to soundtracks and remixes, releasing No Man's Sky: Journeys, a 32-track sequel to their original procedural score for the game in collaboration with Paul Weir on September 18 via Laced Records, emphasizing exploratory themes in infinite space. They also provided a remix of The Cure's "All I Ever Am" for the June 13 remix album Mixes of a Lost World, blending their noisy electronics with the track's emotional core. Post-pandemic revivals extended to touring, with European dates in 2025 building on the 2023 Wild Light anniversary shows, marking their first extensive continental performances since before and showcasing evolved live interpretations of their catalog.

Band identity

Name origin

The band adopted the name "65daysofstatic" upon its formation in , , in 2001, styling it in lowercase letters without spaces to emphasize its function as a singular entity rather than a temporal phrase. A primary theory surrounding the name's inspiration posits a connection to psychological experiments conducted in the 1950s and 1960s, during which researchers allegedly determined that prolonged exposure to 65 days of white noise or static could induce in subjects, reflecting themes of endurance and central to the band's sound. An alternative speculation links it to an unreleased film tentatively titled 65 Days of Static, purportedly set in a post-apocalyptic era of global communication breakdown, aligning with the band's interest in cinematic and dystopian motifs. The band has maintained an ambiguous stance on these origins, often referencing them humorously or indirectly without confirmation, treating the name as a conceptual placeholder that evokes , isolation, and rather than a literal reference. Over time, the styling has evolved minimally in usage, appearing consistently in lowercase across early promotional websites, album artwork from The Fall of Math (2004) onward, and contemporary digital branding, reinforcing its iconic, unadorned identity.

Aesthetic and branding

The aesthetic and branding of 65daysofstatic emphasize a minimalist, experimental visual identity that aligns with their roots, incorporating abstract and glitch-influenced elements to evoke themes of , , and cosmic exploration. Their logo features a simple numeric "65" often stylized in a clean, typographic form, integrated into merchandise and digital assets to maintain a stark, functional presence without ornate flourishes. This design choice reflects the band's commitment to unadorned, utilitarian visuals that prioritize content over embellishment, as seen in their ongoing use of the across platforms. From their debut album The Fall of Math (2004) onward, album artwork has consistently drawn on abstract, space-inspired themes, blending geometric patterns, distorted forms, and ethereal landscapes to mirror the music's intense, otherworldly soundscapes. For instance, the soundtrack (2016) incorporates painted cosmic vistas by artist John Delucca, embedding interstellar motifs into gatefold sleeves and vinyl packaging to convey infinite procedural universes. Later releases like replicr, 2019 (2019) shift toward hand-crafted collages with tinted film stills and grid-based compositions, maintaining an abstract quality while introducing tactile, fragmented visuals reminiscent of sci-fi fragmentation. These designs, often self-produced or collaboratively developed, underscore a progression from early glitch-heavy aesthetics to more layered, narrative-driven imagery. The band's website and presence have evolved to embody a DIY digital aesthetic, starting with a basic framework around 2005 and expanding into an integrated hub that embeds feeds from , , , and for seamless, real-time updates. This setup, redesigned iteratively by collaborators like Version Industries, favors sparse layouts with embedded media over flashy graphics, allowing experimental content to take center stage. The 65labs imprint, launched as the band's arm for hyper-music systems, extends this branding through Patreon-exclusive digital archives of audio, essays, and software, presented in raw, unpolished formats that highlight archival "hard drive archaeology" and algorithmic experimentation. Merchandise and packaging further reinforce this ethos, with items like embossed vinyl sleeves for Utopian Frequencies (2020) and workwear-style hoodies featuring the 65labs logo adopting a no-frills, industrial look that echoes post-rock's raw edge. T-shirts often incorporate motifs, such as distorted text or pixelated patterns on releases like Disquiet (2020), blending digital glitches with screen-printed simplicity to create accessible yet subversive fan items. Overall, this consistent visual language—rooted in for later works and minimalist packaging—positions 65daysofstatic as innovators in genre-specific branding, where aesthetics serve as an extension of their noisy, boundary-pushing ethos.

Members and lineup

Current members

The current lineup of 65daysofstatic consists of four core members who have collaborated since the band's early years, focusing on instrumental compositions without vocals. Paul Wolinski handles guitars and keyboards, serving as the primary composer for much of the band's output. He has been involved since the band's formation in 2001 and contributes to programming and production elements across their discography. Joe , a co-founder alongside Wolinski, plays guitars and , often incorporating programming and effects into the band's layered soundscapes. His role emphasizes experimental textures, drawing from the group's roots. Rob Jones joined in late 2003 on and percussion, providing the rhythmic foundation for their dynamic live and recorded performances. He also contributes keyboards and programming in various tracks. Simon Wright completed the quartet in 2003, playing bass and occasionally guitar, with additional input on keyboards and programming. The lineup has remained stable since 2003, with no reported changes, and all members are based in , . This continuity supports their collective approach to instrumental music, blending rock instrumentation with electronic elements.

Contributions and roles

Paul Wolinski serves as a primary of the band's melodic and electronic arrangements, contributing on keyboards, , guitars, and programming to craft layered, atmospheric soundscapes that blend with IDM influences. His work often drives the integration of electronic elements, such as and synth manipulations, particularly evident in projects where procedural audio requires dynamic, adaptive compositions. Joe Shrewsbury's guitar contributions shape the band's rhythms and glitch-infused textures, providing intricate, angular riffs that propel the energetic, off-kilter grooves central to their sound. His playing emphasizes polyrhythmic complexity and abrupt shifts, influencing the evolution from early chaotic to more refined electronic hybrids in later releases. Rob Jones anchors the rhythmic foundation through his drumming, delivering dynamic patterns that interplay with programmed beats to create propulsive, high-energy drives in both studio recordings and compositions. His versatile approach, blending acoustic intensity with electronic synchronization, has been key to elevating the band's songwriting since joining in , allowing for expansive builds and releases in their structures. Simon Wright's bass lines provide structural depth, anchoring the atmospheric builds with resonant, pulsating foundations that support the band's sweeping crescendos and ambient passages. Often incorporating programming, his contributions ensure cohesion in the lower frequencies, grounding the more experimental electronic and guitar elements during production. The band's production process is highly collaborative, with members sharing responsibilities in composition and engineering to foster a unified creative output, frequently employing software tools for layering glitches, synths, and in their endeavors. This method has evolved over time, emphasizing collective input to refine noisy, instrumental arrangements that prioritize emotional and textural impact over traditional song structures. In recent works during the , the group has adapted to new collaborative dynamics, including partnerships with external audio specialists like Paul Weir for expansive projects such as the : Journeys soundtrack, incorporating remote elements and algorithmic techniques to sustain innovation amid global disruptions.

Musical style

Core elements and evolution

65daysofstatic's core sound revolves around compositions that layer angular guitars with propulsive drums and intricate electronic textures, eschewing vocals entirely to emphasize dynamic interplay between organic and digital elements. This foundation draws on guitar-driven urgency blended with glitchy, sampled percussion and synth swells, creating a tense, dramatic atmosphere that evolves through builds and releases. The band frequently utilizes effects pedals for distorted, processed guitar tones, analog synthesizers like the Dave Smith Mopho for melodic underpinnings, and for algorithmic manipulation, enabling real-time that integrates live with programmed rhythms. In their early years from 2001 to 2005, the band's style was defined by complexity, featuring unpredictable rhythms, breakcore-infused electronics, and sharply syncopated guitar patterns that prioritized rhythmic intricacy over melody, as exemplified in their debut The Fall of Math. This period highlighted a raw, experimental edge with IDM-like glitches and drum 'n' bass breaks layered over structures, establishing their reputation for noisy, high-energy instrumentals. From 2006 to 2010, 65daysofstatic evolved toward more atmospheric builds, softening the precision with expansive guitar swells, live drum propulsion, and off-beat electronic samples that fostered emotional crescendos typical of . Albums like One Time for All Time showcased this transition, balancing industrial edges with soaring, layered textures to create immersive, narrative-driven soundscapes. Starting in 2011 with soundtrack endeavors, the band shifted prominently to ambient and electronic domains, incorporating procedural elements and vast textural libraries to generate adaptive, infinite compositions, as seen in their re-score for Silent Running and the No Man's Sky soundtrack. This era emphasized hypnotic drones and environmental sound design over rock aggression. In the 2020s, glitch motifs and procedural generation have dominated, with custom software enabling live, algorithmically endless music streams like Wreckage Systems, where raw recordings are recombined in real-time for glitchy, ever-varying outputs; Journeys (2025) further develops this direction by transforming generative soundscapes into hand-crafted, cinematic compositions emphasizing exploration and humanity, maintaining their hybrid post-rock and ambient electronica.

Influences and comparisons

65daysofstatic's music draws heavily from pioneers, with band members citing as a key influence for their ideological commitment and dynamic builds that create a sense of uncompromised intensity. Guitarist Joe Shrewsbury has described as hugely influential during his formative years, shaping his early ideas about music, emotion, and personal expression. Similarly, comparisons to highlight shared elements of guitar-driven emotional swells and atmospheric tension in the band's sound. On the electronic front, keyboardist Paul Wolinski has named as a foundational influence, particularly for the integration of glitchy, offbeat rhythms with organic instrumentation, which fused with sensibilities in their early work. Wolinski also credits Orbital and for inspiring the band's approach to blending danceable electronic pulses with live guitar elements, creating a hybrid energy that avoids traditional genre boundaries. Additional electronic inspirations include Autechre's glitch aesthetics and Chris Clark's precise programming, which informed the band's experimental layering of samples and synths. The band's aesthetic also reflects nods to film scores, with their name derived from a semi-mythical project, evoking the composer's tense, synth-heavy soundtracks that blend horror with ambient dread. Other cited sources include New Order's template for merging guitars and electronics, ' heavy-yet-melodic guitar tones, and Boom Boom Satellites' fusion of breakbeats with rock aggression, all of which underscore a deliberate cross-pollination of styles. These influences manifest in genre blends of post-rock's epic, instrumental structures with math rock's intricate rhythms, IDM's digital glitches, and ambient's expansive textures, as seen in their programmed drums layered over live performances. Comparisons often position 65daysofstatic alongside for shared epic crescendos and narrative depth in instrumentals, while their electronic integration echoes Four Tet's organic remixing of samples into cohesive wholes. Over time, the band evolved from guitar-centric rock roots toward a soundtrack hybrid, incorporating cinematic elements honed through projects like the score, where drama meets procedural inspired by their diverse influences. Wolinski has noted this shift as a natural progression, allowing the group to explore algorithmic and ambient territories while retaining core rock energy from bands like and ...And You Will Know Us by the Trail of Dead.

Live performances and touring

Performance style and notable shows

65daysofstatic's live performances are characterized by high-energy, sets that emphasize dynamic shifts between intense crescendos and quieter interludes, relying on , guitars, and pummeling drums to create an exhilarating atmosphere without vocals. The band often incorporates , particularly in later portions of shows, allowing for looser, more unpredictable explorations of their material, as seen in their blending of with influences to drive crowd engagement. Visual projections and lighting play a central role, with collaborators like Medlo providing glitchy, on-the-fly visuals that enhance the sonic assault and add a cinematic layer to their presentations. Their technical setup for live electronics is intricate, featuring real-time processing of guitars, synths, and sampled percussion to replicate and expand upon studio complexities, enabling seamless integration of algorithmic elements during performances. This approach allows the band to maintain a raw, abrasive edge in live contexts, where drummer Rob Jones's exhaustive rhythms underpin the chaotic interplay of instruments. Notable shows include their debut U.S. appearance at SXSW in 2007, marking the start of their North American presence with a set of complex, tempo-shifting tracks that showcased their early post-rock intensity. At the All Tomorrow's Parties festival in 2007, they delivered a high-impact performance amid a lineup of experimental acts, solidifying their reputation for auricular assaults in festival settings. Their 2013 set at Download Festival highlighted their adaptation to larger rock audiences, blending glitchy electronics with heavy beats in a visually charged environment. In 2009, the band adapted to smaller, more intimate venues to test new material and foster closer audience connections, as evidenced by their "Test Tour" of cozy spaces that allowed for experimental tweaks to their live dynamics. This shift emphasized the tactile energy of their setups in confined areas, where lighting and projections could immerse crowds more directly.

Major tours and festivals

Following the release of their debut EP Stumble Stop Repeat in 2003, 65daysofstatic embarked on extensive early tours across the and from 2004 to 2005, performing around 100 shows in total to build a grassroots following in the scene. These tours included frequent appearances in small venues and clubs, often in unconventional settings such as drum'n'bass nights in , alongside headline slots in rock venues across the , , , and . The band's expansion into the US market began in 2007 through a partnership with , which handled the North American release of their album The Destruction of Small Ideas, enabling their first substantial stateside presence. This culminated in a major 2008 tour supporting , spanning over 20 dates across the US and , from arenas in , to smaller venues in cities like , marking a significant step in their international profile. In 2013, 65daysofstatic undertook their inaugural Australian tour, a series of headline shows in major cities including , , and , supported by local acts like sleepmakeswaves, which introduced their music to the Oceanic audience and received strong critical acclaim for its intensity. A landmark in their touring history was the 2016–2017 world tour supporting their No Man's Sky: Music for an Infinite Universe soundtrack, billed as the largest-ever tour for a score. The tour featured over 50 dates across more than 20 countries, including , , , and , with live performances synced to in-game visuals, drawing sell-out crowds and highlighting their genre-blending sound on a global scale. To commemorate the tenth anniversary of their 2013 album Wild Light, the band announced a European tour in 2023, performing the record in full across the and , including stops in , , and —their first international outing since the pre-pandemic era. Key festival appearances have highlighted the band's live reputation, including a set at in 2013 on the William's Green stage, where they delivered tracks from Wild Light to a festival crowd. They also performed at in in 2007, sharing the bill with acts like and , and headlined at Plisskën Festival in , , in 2014, showcasing their evolving sound with visuals amid a diverse lineup featuring and Fink. The forced a halt to live touring from 2020 onward, leading to a period of online engagement through live streams, such as the Wreckage Systems performances broadcast via , which maintained fan connection during the pause. The band revived in-person touring in 2023 with the Wild Light anniversary run, extending into 2025 with additional and European dates, including streamed elements to reach global audiences. By 2025, 65daysofstatic had toured over 20 countries, including the , various European nations (such as , , , , , and ), the , , , , , and , reflecting their broad international appeal in the music community.

Community and side projects

65kids fanbase

The term "65kids" originated in the early with the launch of 65kids.com, a dedicated fansite serving as a media repository for 65daysofstatic's content, including music videos, remixes, and tour-related materials. The site defined a "65kid" as any fan or supporter of the band, fostering an early sense of community through features like update feeds and email interactions for suggestions and requests. Although the fansite became defunct around the mid-2010s, it laid the groundwork for fan engagement by hosting unreleasable pop mashup albums, live recordings, radio sessions, and tour diaries, which helped distribute bootleg and archival material not available through official channels. Fanbase activities centered on sharing and preserving band-related media, with 65kids.com enabling downloads of remixes and live sets that promoted lesser-known or experimental aspects of the band's work. Community members contributed by uploading fan-created content, such as video edits and artwork inspired by the band's style, often shared via the site's repository sections. These efforts extended to promoting unreleased material, including early electronic experiments and session outtakes, which kept the band's evolving sound accessible to dedicated listeners during periods of limited official releases. The site's account (@65kids) further facilitated real-time interactions, allowing fans to discuss shows and share discoveries. Over time, the 65kids community shifted to modern platforms for continued interaction, including the band's official server, where fans exchange thoughts on music and occasional band members participate. and the band's have sustained newsletters and updates, enabling fans to stay informed about new projects and archival shares. Additionally, the band's offers tiered memberships with access to the server, exclusive archival material, and direct support for experimental projects. On , the fanbase engages through exclusive "65kids packages," bundling deluxe editions and unreleased tracks, which reinforce the intimate connection between the band and its supporters. This evolution from a static fansite to dynamic online spaces has maintained the 65kids' role in amplifying the band's niche appeal, with Atwood Magazine noting the group's longstanding intimate ties to 65daysofstatic. In 2016, 65daysofstatic established 65labs as an imprint dedicated to self-releases, experimental projects, and archival content, allowing direct access to exclusive audio, videos, software, and essays for subscribers. The initiative facilitated releases until 2024, when it was paused until further notice, including the Wreckage Systems project, which explores algorithmic audio generation through live streams and downloadable archives. The band's "Unreleased/Unreleasable" series comprises multiple volumes of fan-accessible projects featuring outtakes, live recordings, and experimental tracks, beginning with Volume 1 in 2003 and continuing through Volume 4 in 2019 as a year-long monthly EP rollout. These releases emphasize direct engagement with supporters, providing material not suited for mainstream distribution. In June 2025, 65daysofstatic contributed a of The Cure's "All I Ever Am" to the Mixes of a Lost World, blending their electronic style with the original track's atmospheric elements. This collaboration marked a significant external partnership, with the integrated into a collection featuring artists like and . From 2017 to 2018, the band developed Decomposition Theory, a series of algorithmically driven live performances that incorporated generative music systems to create unique soundscapes each night. These shows represented an experimental initiative blending live instrumentation with computational processes for immersive experiences. Paul Wolinski, the band's and , pursues solo electronic work under the moniker Polinski, releasing albums such as Telex from MIDI City in 2023, which delves into synthesizer-driven compositions inspired by retro . His projects extend the band's sound design explorations into personal, ambient electronic territories. Wolinski has also engaged in educational and sound design efforts, including contributions to generative music research and game audio, such as the adaptive for , influencing procedural composition techniques.

Discography

Studio albums

65daysofstatic has released six studio albums, each marking evolutions in their instrumental sound blended with electronic and math-rock elements. These full-length works, distinct from their and live recordings, showcase the band's experimental approach through self-produced recordings often emphasizing intricate rhythms and atmospheric textures. Their debut studio album, The Fall of Math, was released in September 2004 on Monotreme Records and comprises 11 tracks, establishing their early glitchy, guitar-driven style. One Time for All Time, issued on 24 October 2005 via Monotreme Records, features 9 tracks blending intricate guitar work with IDM-inspired electronics on pieces like "Drove Through Ghosts to Get Here" and "23kid." Recorded in , the effort clocks in at around 40 minutes, bridging the debut album's raw energy with more polished compositions while experimenting with melodic structures. Track listing
  1. "Drove Through Ghosts to Get Here" – 4:19
  2. "Await Rescue" – 4:44
  3. "23kid" – 4:32
  4. "Welcome to the Times" – 3:54
  5. "Mean Low Water" – 4:01
  6. "Climbing on Roofs (Desperate Edit)" – 3:28
  7. "Piano Fights" – 3:36
  8. "The Conspiracy of Seeds" – 5:33
  9. "Radio Protector" – 4:12
The second album, The Destruction of Small Ideas, followed in April 2007, also on Monotreme Records, featuring 12 tracks that expanded on layered compositions and dynamic builds. We Were Exploding Anyway, issued in April 2010 via Hassle Records, contains 9 tracks and introduced more dance-influenced rhythms; it peaked at number 99 on the . In September 2013, Wild Light appeared on Superball Music with 9 tracks, shifting toward brighter, more melodic structures while retaining electronic pulses; the album reached number 96 on the . The band's fifth studio effort, replicr, 2019, was released in October 2019 on Superball Music and includes 14 tracks, reflecting a fragmented, algorithm-inspired aesthetic born from their scoring experiences.

Soundtrack albums

65daysofstatic entered the realm of composition with their 2011 album Silent Running, an alternate score for Douglas Trumbull's 1972 of the same name. Commissioned initially for a live performance at the , the project replaced the film's original folk-inspired songs with the band's signature instrumentals, emphasizing themes of environmental decay and isolation through swelling guitars and atmospheric electronics. Released on November 14, 2011, via the band's own Dustpunk Records label after a successful campaign, the album features 15 tracks, including "" and "The Scattered Disk," designed to sync precisely with the film's runtime. It was made available in digital formats, with limited physical editions including CDs and vinyl produced through the crowdfunding effort. The received acclaim within and music communities for its immersive reimagining, with reviewers praising its controlled dynamics and emotional depth that enhanced the 's eco-futurist without overpowering the visuals. Critics noted the score's subtlety in quieter passages and its crisp, distortion-free guitar work, marking a shift toward more cinematic restraint compared to the band's earlier works. The project also led to live screenings synced with the , solidifying its status among and sci-fi enthusiasts. In 2016, 65daysofstatic expanded into video game scoring with : Music for an Infinite Universe, the original soundtrack for ' procedurally generated title. Released on June 17, 2016, through Laced Records to coincide with the game's launch, the double album comprises 16 tracks spanning nearly two hours, blending orchestral swells, electronic pulses, and math-rock rhythms to evoke the vastness of infinite procedurally generated universes. Key pieces like "" and "Asimov" form the basis for the game's dynamic audio system, where the band's compositions are algorithmically remixed and layered in real-time to create endless variations, ensuring no two playthroughs feature identical soundscapes. Available in digital downloads and multiple vinyl editions—including a triple-LP set—the soundtrack was lauded for its innovative integration with the game's procedural engine. Reception in gaming circles highlighted the album's ambient mood-setting and technical ambition, with outlets commending tracks like "" for their evocative reception and role in building player immersion amid the game's expansive procedural worlds. The score's generative approach was seen as a pioneering match for the title's algorithmic planet generation, earning praise for providing subtle cues that enhance exploration without dominating the experience. Marking their return to the franchise, No Man's Sky: Journeys arrived on September 18, 2025, as a collaborative soundtrack with composer Paul Weir for the game's evolving universe. Issued via Laced Records, the album features 32 tracks alternating between 65daysofstatic's prog-infused epics—such as "Aporias" and "ECHO_SOLAR"—and Weir's synth-driven ambiences, transforming in-game procedural soundscapes into fixed, human-crafted compositions amid rising AI-generated music trends. Drawing from nine years of contributions to No Man's Sky, including unused stems from the 2016 score, it emphasizes intentional artistry over automation, with releases in digital formats and a deluxe double-vinyl edition. The project reflects the band's ongoing experimentation with procedural elements, now refined into deliberate structures. Gaming and music communities welcomed Journeys for its humanistic defiance against algorithmic composition, with reviewers describing it as a Philip Glass-like blend of epic and ambient that captures the game's matured procedural depth and emotional resonance. The collaboration was noted for bridging the original soundtrack's infinity with more narrative-driven pieces, reinforcing 65daysofstatic's impact on interactive media scoring.

Live albums and EPs

65daysofstatic's earliest , Stumble.Stop.Repeat, was recorded primarily in 2002 at Axis Studios in , with additional sessions in 2003 at Avalon Studios, and released on 1 December 2003 through independent label . The EP features five tracks, including "AOD" and "Thrash Waltz," showcasing the band's initial fusion of instrumentation with electronic elements like and drum'n'bass influences. Running approximately 27 minutes, it served as an experimental precursor to their debut full-length, introducing looping rhythms and atmospheric builds that would define their sound. The 2010 EP Heavy Sky was recorded in amid sessions for the band's prior full-length, emerging as a seven-track companion release on 17 October 2010 through . Spanning 33 minutes, it includes reworked versions like "Tiger Girl (Wishful Thinking Edit)" and new cuts such as "Sawtooth Rising," emphasizing pulsating beats and cascading guitars. This EP functioned as a bridge to subsequent material, distilling session outtakes into a concise format that highlighted the band's evolving electronic-rock hybrid without overlapping core album content. Mimik, the fourth EP from the Wreckage Systems project, was originally released on 6 2021 and made available on streaming platforms on 7 February 2025 via dustpunk records. It includes 5 tracks focused on synthetic and nonlinear . , the band's inaugural live album, captures performances from their 2008 U.S. tour supporting , with tracks recorded on 18 and 19 June at and in . Released as a double-disc set (CD and DVD ) on 20 April 2009 in the UK via Superball Music, it features 10 songs, including live renditions of "Drove Through Ghosts to Get Here" and exclusive material, preserving the raw intensity of their stage dynamics over 46 minutes. The edition's DVD component documents the tour's behind-the-scenes aspects, underscoring the album's role in extending studio works through unfiltered live energy. In 2023, Wild Light (Live in 150923) documented a full set from the band's Wild Light Tenth Anniversary tour, recorded on 15 September at New Century Hall in . Released digitally on 17 2023 via the band's and platforms, the approximately 55-minute recording replays the 2013 album Wild Light in sequence, capturing layered improvisations and audience interaction. This live EP bridges archival material with contemporary performance, revitalizing older compositions through evolved arrangements and the venue's intimate acoustics.

Singles, remixes, and compilations

65daysofstatic has issued a select number of standalone singles, often in limited physical or digital formats, highlighting their experimental post-rock sound. Their early single "Retreat! Retreat!" was released on November 29, 2004, as a limited edition CD maxi-single on Monotreme Records, containing the title track, "AOD," and "The Major Cities of the World Are Being Destroyed One by One by the Monsters." In August 2025, the band collaborated with composer Paul Weir on the digital-only single "No Man's Sky - Vostok / The Journey," featuring two instrumental tracks composed for the video game No Man's Sky. The group has contributed to other artists' works, blending their electronic and math-rock elements into reinterpretations. A notable recent example is their of The Cure's "All I Ever Am," released on , 2025, as part of the Mixes of a Lost World on . Earlier efforts include B-sides and tracks on their 2004 single and the 2008 unofficial CD RMXSCEE, which compiles experimental in and styles. Compilations and rarities from 65daysofstatic often draw from unreleased material and algorithmic experiments, typically distributed digitally. , released on February 14, 2022, as a digital EP, assembles 17 tracks of excerpts, sketches, and ambient pieces from their Wreckage Systems project. Unreleased/Unreleasable Volume 4: A Year of Wreckage, initiated in April 2019, comprises twelve monthly digital EPs exploring generative music and live-captured improvisations, concluding in 2020. Rarities tied to the ongoing Wreckage Systems include data stream captures, such as the 2025 digital release and streaming of , an EP of algorithmic compositions derived from the project's continuous live audio broadcast.

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  60. https://65daysofstatic.bandcamp.com/merch/65daysos-logo-tee
  61. https://versionindustries.com/work/tag/65daysofstatic
  62. https://www.lacedrecords.co/collections/no-mans-sky
  63. https://versionindustries.com/blog/tag/65daysofstatic/
  64. https://65daysofstatic.bandcamp.com/merch
  65. https://www.the-independent.com/arts-entertainment/music/features/65daysofstatic-no-man-s-sky-music-for-an-infinite-universe-soundtrack-exclusive-album-stream-a7171481.html
  66. https://theprogmind.com/2019/09/18/65daysofstatic-replicr/
  67. https://xboxera.com/2025/10/08/an-interview-with-65daysofstatics-paul-wolinski-on-the-sounds-of-no-mans-sky/
  68. https://ghettoblastermagazine.com/features/special-report/sounds-for-humanity-an-interview-with-paul-wolinski-of-65daysofstatic/
  69. http://loud-stuff.weebly.com/65-days-of-static.html
  70. https://echoesanddust.com/2015/06/interview-joe-shrewsbury-from-65daysofstatic/
  71. https://www.silentradio.co.uk/09/16/live-review-65-days-of-static-new-century-hall-150923/
  72. https://www.birdsrobe.com/artists/65daysofstatic
  73. https://insideoutmusic.bandcamp.com/album/replicr-2019
  74. https://www.musicradar.com/news/guitars/how-65daysofstatic-built-the-soundtrack-to-no-mans-skys-infinite-universe-641184
  75. https://loud-stuff.weebly.com/65-days-of-static.html
  76. https://musicandriots.com/an-unexpected-journey-our-interview-with-65daysofstatic/
  77. https://thequietus.com/interviews/65-days-of-static-interview-we-were-exploding-anyway/
  78. https://www.musicradar.com/news/me-in-my-studio-65daysofstatic
  79. https://www.discogs.com/release/359545-65daysofstatic-The-Fall-Of-Math
  80. https://www.65daysofstatic.com/wreckage-systems-faq/
  81. https://www.thelineofbestfit.com/features/interviews/65daysofstatic-paul-wolinski-nine-favourite-songs
  82. https://www.clashmusic.com/features/white-noise-65daysofstatic-interview/
  83. https://dustedmagazine.tumblr.com/post/148792747047/65daysofstatic-no-mans-sky-music-for-an
  84. https://echoesanddust.com/2014/08/live-65daysofstatic-nordic-giants-the-globe-cardiff-28th-july-2014/
  85. https://livemusicblog.com/2007-sxsw-music-festival-lineup-announced/
  86. https://www.setlist.fm/festival/2007/all-tomorrows-parties-2007-2-bd6354a.html
  87. https://www.nme.com/blogs/nme-blogs/65daysofstatic-tour-diary-april-2009-47693
  88. https://www.buzzmag.co.uk/65daysofstatic-dead-method-live-review/
  89. https://www.setlist.fm/stats/65daysofstatic-6bd69a06.html?year=2004
  90. https://www.setlist.fm/stats/65daysofstatic-6bd69a06.html?year=2005
  91. https://www.concertarchives.org/bands/65daysofstatic
  92. http://drownedinsound.com/in_depth/2893776-65daysofstatic--touring-%25E2%2580%2598til-the-tank%25E2%2580%2599s-dry
  93. https://www.brooklynvegan.com/65daysofstatic-1/
  94. https://www.setlist.fm/setlist/65daysofstatic/2008/the-falcon-englewood-co-2bc72c3a.html
  95. https://www.theverge.com/2016/6/27/12039410/no-mans-sky-soundtrack-65daysofstatic-world-tour
  96. https://www.gamespot.com/articles/no-mans-sky-band-announces-biggest-ever-tour-for-a/1100-6441275/
  97. https://www.stereoboard.com/65daysofstatic-tickets
  98. https://www.knusthamburg.de/programm/65daysofstatic/
  99. https://www.setlist.fm/setlist/65daysofstatic/2013/worthy-farm-pilton-england-73d97a39.html
  100. http://drownedinsound.com/in_depth/4146565-in-photos--glastonbury-festival-2013-day-2-worthy-farm-pilton
  101. https://www.gigwise.com/news/27739/2007-Roskilde-Festival-Line-Up/
  102. https://www.youtube.com/watch?v=sPGxXPcyCyY
  103. https://www.65daysofstatic.com/live/
  104. https://www.youtube.com/channel/UCz2DtqlSXZvWKAr1RG7cRkw
  105. https://balkanrock.com/english/paul-wolinski-65daysofstatic-getting-to-a-new-country-is-always-hugely-exciting-no-matter-where-or-what-size-it-is/
  106. https://discoverthebluedot.com/profile/65daysofstatic/
  107. https://web.archive.org/web/20120415035513/http://www.65kids.com/
  108. https://www.65daysofstatic.com/contact/
  109. http://goatwriter.blogspot.com/2009/09/slaughterhouse-65.html
  110. https://www.patreon.com/65daysofstatic
  111. https://www.65daysofstatic.com/wreckage-systems/
  112. https://www.patreon.com/posts/pressing-pause-108595359
  113. https://music.mxdwn.com/2019/05/16/news/65daysofstatic-announce-unreleased-unreleasable-vol-4-a-year-of-wreckage-project-featuring-monthly-releases/
  114. https://www.discogs.com/release/257426-65daysofstatic-UnreleasedUnreleasable-Volume-1-65sLateNiteDouble-A-SideCollegeCut-UpTrailersForTheLo
  115. https://metalinjection.net/upcoming-releases/deftones-chino-moreno-mogwai-65daysofstatic-contribute-to-the-cure-remix-album
  116. https://dubiks.com/2023/01/22/polinski-telex-from-midi-city/
  117. https://ra.co/dj/polinski/biography
  118. https://open.spotify.com/album/39TrTBzr6CRFRnh8AqxSub
  119. https://open.spotify.com/album/0sMhDEURXDVVqiqh45DeAi
  120. https://www.discogs.com/release/963925-65daysofstatic-The-Destruction-Of-Small-Ideas
  121. https://open.spotify.com/album/5Wt0EI029l6UQMJVrv0n16
  122. https://www.discogs.com/release/14258190-65daysofstatic-We-Were-Exploding-Anyway
  123. https://open.spotify.com/album/1JorSz3YkTUuNMyLu18dUd
  124. https://www.discogs.com/release/5940779-65daysofstatic-Wild-Light
  125. https://open.spotify.com/album/3a68UJXba5ejXgM5K8BUVF
  126. https://www.discogs.com/release/14191140-65daysofstatic-replicr-2019
  127. https://open.spotify.com/album/00chiEAshbWdhrPg6Y8po1
  128. https://www.65daysofstatic.com/tag/silent-running/
  129. https://www.clashmusic.com/features/silent-running-65daysofstatic/
  130. https://musicfromrainyskiesmagazine.wordpress.com/2011/11/24/review-65daysofstatic-silent-running-album/
  131. https://lacedrecords.bandcamp.com/album/no-mans-sky-music-for-an-infinite-universe-original-soundtrack
  132. http://drownedinsound.com/releases/19558/reviews/4150302
  133. https://www.discogs.com/master/1538756-65daysofstatic-StumbleStopRepeat-EP
  134. https://collective-zine.co.uk/2007/06/13/65daysofstatic-stumble-stop-repeat-cd-2003/
  135. https://www.discogs.com/release/2652804-65daysofstatic-Heavy-Sky
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  137. http://drownedinsound.com/releases/15791/reviews/4141432
  138. https://www.discogs.com/master/2287249-65daysofstatic-Mimik
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  141. https://monotremerecords.limitedrun.com/products/14148-65daysofstatic-escape-from-new-york-live-cd-album-dvd
  142. https://www.patreon.com/posts/wild-light-23-in-92996771
  143. https://rateyourmusic.com/release/album/65daysofstatic/wild-light-live-in-manchester-150923/
  144. https://www.discogs.com/release/359549-65daysofstatic-Retreat-Retreat
  145. https://www.discogs.com/release/34943285-65daysofstatic-Paul-Weir-No-Mans-Sky-Vostok-The-Journey-Original-Soundtrack
  146. https://www.discogs.com/release/12580564-65daysofstatic-RMXSCEE
  147. https://musicbrainz.org/series/b82870f7-407c-495c-806f-4f09793cf771
  148. https://www.65daysofstatic.com/
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