Leeds alt-rockers Supermaus have crafted their sound around a shared love of ’90s alternative rock, refracted through a contemporary post-punk lens. They are currently releasing singles for their debut EP, Out Of Body, out on May 8. Their latest, ‘Second Place’, will be released tomorrow. I asked lead singer Helen Edgeworth ten questions to find out more about one of Leeds’ latest outfits.
THE ARGUS FAR FIVE
How would you describe the sound of Supermaus?
At its core, it’s ’90s alternative rock, layered with shoegaze atmospherics and a faint gothic undercurrent.
What are your biggest non-music influences?
Visually, Ken Russell and David Lynch have been major influences. They both knew how to tilt the perception of reality just enough to make it feel uncanny. For other influences, I’m always drifting between two landscapes: Western America and its iconography, and the North Yorkshire Moors where I grew up – English folklore, isolation, open space. That tension between the two worlds seems to find its way into everything I write.
If you had to cover any song and put a Supermaus spin on it, which would you choose?
‘Temporary Secretary’ by Paul McCartney.
What is your earliest memory of music?
When I was at primary school, we had those people who come in to encourage you to sign up for music lessons, in exchange for getting to miss a bit of class – sweet deal if you ask me. I signed up for violin. A week later, a group of kids played ‘Smoke on the Water’ on acoustic guitars and that seemed significantly more appealing. I asked to switch. My mum said no.
What does 2026 have in store for Supermaus?
We’re releasing our debut EP on the May 8, which is super exciting if not super nerve-wracking at the same time, gigs, gigs, gigs and if we’re lucky a couple of music festivals too.
THE SUPERMAUS FIVE
Why did you choose the name Supermaus?
We began recording our debut EP before we had even decided on our name, which is probably a very unconventional way of going about it. We were trying to find two words that sounded good together. At one point, our drummer Rağna shouted out ‘super mouse’. I think we were all unsure on it at first, but the more we kept saying it, the more it grew on us.
Between yourself and fellow Leeds rockers Vehicle, cowboys seem to be everywhere. What abut the archetypal cowboy captures your imagination?
For me, the cowboy represents the ultimate outsider, someone who exists on the periphery and answers only to himself. There’s something compelling to me about that complete removal from societal norms and expectations.
How would you describe the music scene in Leeds?
The north of England, although generally being ignored by the rest of the country both politically and economically, has always been a powerhouse when it comes to great musical and cultural movements. Leeds feels like it’s quietly building towards something like that. We’re one of the few major northern cities that hasn’t yet formed a singular, musical identity: Manchester cultivated Britpop, Liverpool started the British Invasion and even Wigan is hailed as being the birthplace of Northern Soul. In many ways, Leeds is overdue its own moment, but there’s a general sense now that we’re standing on the edge of it.
How did Supermaus come together?
We all met around college and were involved in separate projects at the time. Initially, it was just me and Tom (bassist) working on something together, and then it gradually snowballed. I bumped into Rağna at a New Year’s Eve party and somehow convinced her to join as our drummer. To complete the line-up, we asked Michael to come on board as guitarist and the rest is history.
The artwork on your singles has been fantastic. Can you tell us about the inspiration behind it?
All the artwork was created by my friend Izel Dugen (@fawnillo), who immediately understood the visual language of the EP. The starting point was something distinctly Lynchian, cinematic and slightly unnerving. The EP circles themes of dissociation and emotional distance, so we wanted the visuals to reflect that: composed on the surface, but faintly surreal beneath it.
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