Thirty-two years after its initial, ultra-limited release on self-made cassettes, the raw and ambitious debut album of British Progressive Rock band IT, titled “The Stranger Inside the Self,” is finally stepping into the modern light. Originally written, recorded, and produced in 1994 by a twenty-year-old Nick Jackson, this lost gem of UK underground prog has undergone a complete, from-scratch transformation for 2026. Fusing classic, emotional Progressive Rock melodies with the Heavy, uncompromising bite of Punk and Metal, the band addresses challenging societal themes, from politics and religion to war and sexuality. Ahead of its highly anticipated official release on October 16th, 2026, we caught up with the band to discuss their thirty-year journey, the lockdown-born creative process behind this massive remake, and their take on the modern Progressive scene.
Nick, looking back at 1994, did you ever imagine that a self-made cassette recorded at age 20 would lay the groundwork for a 30-year musical journey?
NJ: “I always knew I’d be involved in music one way or another. But to be still creating original music today is amazing. It’s become a need in a strange way. If I don’t do it for long periods of time I get depressed. So I try to be creative on a regular basis.“
Your sound blends classic Progressive Rock with the raw energy of Punk and Metal. Where does this “Punk attitude” come from, and how does it fit into your Progressive style?
NJ: “I’m glad you picked up on that. I grew up listening to all sorts of music. One of them was punk rock. The Sex Pistols, the Clash, that sort of stuff. I really identified with it’s rebellious attitude and not accepting things as others want you to. I also came from a political family. So I guess it’s all part of my DNA as such.“
With lyrics tackling politics, religion, and war, do you feel that progressive rock has a duty to be socially and politically critical?
AR: “Not Prog music specifically, music has always had it’s place in speaking out, a voice of protest, anti establishment and being rebellious! This is our platform so we use it, maybe other bands arent so comfortable with it and thats fine too.“
NJ: “I think all forms of art has that duty, as well human beings themselves.“
You have used short films on stage since your very first gigs in 1994. How has your visual multimedia production evolved over the decades?
NJ: “We have indeed. It’s become a whole lot easier technically. When we first started doing it, video projectors had only just been invented. And getting the content to the projector wasn’t easy. In the early days we had to sync a video tape machine to a multitrack reel to reel tape machine. It was quite the process and didn’t always work. Now our biggest hurdle is finding venues where we can do projections in. Some venues are just too small or the screen isn’t in the right location with the stage. In terms of making the films themselves that’s become easier. But we like to keep things fresh, so we only do it from time to time now. Mainly at our own bigger shows.“
How did Andy Rowberry’s arrival in 2004 change IT’s songwriting chemistry and sonic direction?
NJ: “Andy brought a much heavier sound to the band, which increased our sound pallet. Over the years our sense of production has grown together. And now it’s great, we instinctively know what each other are thinking and where to go. It makes things a whole lot easier.“
Your 2017 album “We’re All In This Together” explored austerity and inequality. Did the hiatus after Departure shape these heavier themes?
Not really, as there is a heaviness in the Departure album. We’re All In This Together was literally taken from a David Cameron speech where he claimed we all needed to sacrifice some more in times of austerity. Then we watched the rich get obscenely rich. And it hasn’t stopped since.
Nick, you reluctantly shared the original 1994 files with fans in 2020 after copies started circulating. Did you expect that to trigger a full-blown remake?
NJ: “Not at all. Originally I thought I could just remix and remaster it. But it became obvious rather quickly that we were looking at least at a partial remake. But once you’re in there doing it, what needs ‘fixing’ becomes apparent. And it just went on and on.“
What was the hardest part of “bettering” and honoring a debut album that already had its own history and identity?
NJ: “In a way you’ve kind of answered your own question. The hard parts for me were sticking to the parts that were already there. As an artist you tend to start with a blank slate or canvas. With this project there was a detailed road map. So keeping up the interest to do it was hard. There weren’t as many surprises in the conventional sense. I had to find new things to get excited about to push it on. It was a completely different discipline that I was use to. But looking back now, it’s brought about different ways of working.“
You started this remake during the Covid-19 lockdowns, sharing files online. Did that physical distance affect the album’s atmosphere?
NJ: “Not really. I think it just made it slower to get things done, as we weren’t together in the same room.“
The remake keeps 95% of the original lyrics, but why did you decide to rename “The Last Of November to Do You Remember”?
NJ: “It was the one song that I felt was never complete. The title also held back its potential and once I let go of it, it was easy to finish. But it took a long time to get there. But I’m over the moon with the results of that track in particular. It was close to the chopping block for a period of time. But Andy pushed me on to get it done. Which I’m very glad that he did.“
Why did you choose “I Won’t Pray On Sunday” as the lead single to introduce this re-imagined era of the band?
NJ: “I think it’s always been one of the stand out tracks. It also encompasses the album nicely. Originally we were going to put Something To Say out first. But as things moved on, it became apparent that I Won’t Pray On Sunday should be first.“
The original 1994 version is exclusive to the physical double-CD. Why did you choose to keep it completely off streaming platforms?
NJ: “I think it’s nice to have something exclusive for people who buy the physical edition. Plus, we don’t want the two confusing people in the digital world.“
Andy, you designed the brand-new artwork for the 20-page booklet. What visual concepts did you want to bring to life for this release?
AR: “Packaging for the CD has always been important to Nick and I, but the most difficult decision in the end was the cover, we thought about changing it to a new concept, but in the end I insisted we honoured the original, and take it further. Nick had the idea of bringing out the colours more, making reds deeper, the yellow and orange bolder, and i actually used the original photo Nick had taken for the 1994 release and went to town on that. There was a fair amount of editing to change the image for the CD format, but underneath all that editing IS the original picture believe it or not! Once we had a colour pallet from the cover i went and created the artwork fit to that style. I actually love how bright and bold it has become, and inside there are photos relevant to both periods of the music. Also, buried into the pages are nods to the original artwork, photos from that time of items in the casette art, Nicks lyric sheets from back then. And finally the disc’s themselves reference the original tapes Nick recorded the album to.“
You are hosting an “Ultimate Package” listening party at Spacehouse Studio on October 3rd. How does it feel to welcome fans into the space where the album was reborn?
NJ: “We did this for the first time back when we released We’re All In This Together and it worked really well. We also had some fans requesting we do this again. We’re very excited about it and are looking forward to it.“
In May 2023, you co-created the “Sunday Mass” show at The Bedford. How do you feel about having sparked a new trend of afternoon prog gigs in London?
NJ: “Maybe it’s just me getting older and the idea of going to a gig on a Sunday night, specially during the British winter no longer appeals to me. And for some reason prog gigs always seemed to land on a Sunday night. Chris Parkins who co-hosted the gig with us was very weary at the time. He didn’t think people would come out on a Sunday afternoon. Now pretty much all of Chris’ gigs are on Sunday afternoons.“
On October 25th, you will debut the new songs live at the Camden Club. What can fans expect from an IT live performance in 2026?
NJ: “We have 2 shows booked for 2026. Camden Club on the 25th of October and The Flapper in Birmingham on Dec 4th. Both of these shows will feature new material for half of the set. With some old favourites for the second half. Which we’re really looking forward to.“
After the pandemic, you toured heavily across England playing major festivals. Do you have any memorable or funny stories from those post-lockdown tours?
NJ: “The first gig back was a little strange at the 1865 in Southampton. People still had to socially distance and it was table service only. I remember going off and on the stage during setup and having to take my mask on and off and sometimes forgetting both.“
From 90s cassette culture to modern streaming, you have seen the industry change completely. How healthy do you find the prog scene today?
NJ: “In all honesty I think things seem to be getting worse. People just don’t have the means to go out as much, cause the wealth addicts don’t seem to know when enough is enough. It’s quite sad really. I guess the powers that be just want everything sitting at home watching garbage television or playing on their devices. But saying all this, i think some of the smaller festivals like Fusion and Prog For Peart are becoming more popular and gaining more attendees. Which is great! They are the lifeblood for bands our size.“
What is the most crucial advice you would give to young Progressive Rock musicians trying to build an audience today?
AR: “Go out and play, and make music you love first and foremost. Don’t think of it as a route to stardom and getting rich, make something real and don’t be afraid to have something to say with it!“
While promoting this remake, you are already working on a follow-up to “We’re All In This Together.” What can you tell us about this new material?
NJ: “Without revealing too much, we have about two thirds of the album written. There is definitely no compromising with this one. Not that we ever do. So far it seems a more concise piece of work. Straight to the point. And it certainly starts where We’re All In This Together left off. What happens after a revolution that never happened? Stay tuned to find out.“
“The Stranger Inside the Self” is officially set for release on Friday, October 16th, 2026. Because the album will not be available in its entirety on streaming services upon release, pre-ordering the physical double CD or digital packages via Bandcamp is the only way to experience this journey from day one. Fans can catch the band debuting these tracks live at The Camden Club in London on Sunday, October 25th, and at The Flapper in Birmingham on Friday, December 4th. For pre-orders, concert tickets, and exclusive updates, head over to www.itband.tv and stay tuned to Progressive Rock Journal for our upcoming, in-depth album review.
Pre-Order “The Stranger Inside The Self” 2026 Remake & Reissue on Bandcamp: https://itofficial.bandcamp.com/album/the-stranger-inside-the-self