FEATURE:
The Best Albums of 2025
Antony Szmerek - Service Station at the End of the Universe
__________
ONE of my absolute favourite albums…
PHOTO CREDIT: Ed Miles for DIY
of this year arrived from Antony Szmerek. His debut album, Service Station at the End of the Universe, was released in February. I have been a fan for a little while now and I love the way he mixes slice-of-life observations that are poetic, humorous and have his voice at the front – and yet so many can relate. A blend of Hip-Hop and Spoken Word, his lyrics and delivering are hypnotic and arresting. I am going to end with a positive review for the divine Service Station at the End of the Universe. I feel like the album should have got a Mercury Prize nod. It was a competitive and great year, though Antony Szmerek was worthy of inclusion in the shortlist. I am going to start off with an interview from DIY. Speaking with an artist who was this evocative and witty new voice whose debut takes us beyond the cosmos, there is something universal about his debut. And yet Antony Szmerek produces distinctly British stories:
“Having first cut his teeth via spoken word and open mic nights around his home city while balancing a day job as a teacher, it was only in 2022 that he first garnered attention via intimately whipsmart early single ‘Hitchhiker’s Guide To The Fallacy’ – a track that would throw open the doors to his witty observations on the everyday thrum of life. Since then, he’s been thrust into a whirlwind of change: performing on Later… with Jools Holland; being named one of BBC 6 Music’s Artists of the Year in 2023; releasing two EPs, ‘Poems To Dance To’ and ‘Seasoning’; and leaving his previous vocation behind to concentrate on music full-time.
“A year ago! One year ago,” Antony reflects today, thinking back to December 2023 when he hung up his teaching cap. “That whole year when I was still teaching – I did Jools Holland in that time, I did Glastonbury, Reading and Leeds for the first time – that was hard, that was when I really started to lose my mind. I was teaching at a college in Salford, doing four days a week. The last day I went in, I didn’t even realise it was my last day! I was fully split, living a double life.”
Even now, officially twelve months in, you can tell it still hasn’t quite sunk in. “It is a real album!” he quips at one point on his impending full-length. “That’s a hard thing for me to… It’s hard releasing something when you know it’s going to have an audience. Watching publications saying ‘these are the records coming out at the start of the year’, and mine’s one of them – and it’s got as good a chance as any of them of being held by people, which is just mad. It doesn’t quite feel real; maybe that’ll happen when I’m 80!”
While the backdrop to the record is, as its title offers, an intergalactic service station dotted with the kind of evocative details that would give The Jetsons a run for their money (take the self-titled opener’s “mid life crisis convertible star cruiser” or the kid riding a “coin operated meteorite”), the album’s heart is still very much about its cast. Built from his idea of the record “being an anthology, with these characters coming in and out”, each track acts as a detailed but universal vignette of life and love, doubt and loss, that just happens to take place in a galaxy far, far away.
“I think you don’t want it to be elitist,” Antony notes, on his candid approach to lyricism, that comes partly inspired by his own musical heroes – and fellow Northerners – Jarvis Cocker and Alex Turner. “I’ve got out of the habit of wanting to say clever words and trying to make it all seem grandiose, or that I’m dead smart because I know all these big words and everything. You’re trying to distil huge concepts that are probably quite wanky, but in a way where everyone can get on board. That’s teaching, I guess,” he nods. “I think I wouldn’t have been immune to doing that if I’d done this earlier on. [When you’re younger] you’re slightly more insecure, and a bit like, ‘this song needs to be clever or it needs to feel like I’m well-read’,” he adds, nodding to the positives of being in your mid-30s. “I think if you step away from that, you’re gonna make better stuff. I’m not averse to throwing in a huge word every now and again, but I’ll still talk about Twixes.”
An album that runs the gamut of human emotion – from the minutiae to the mammoth – if ‘Service Station At The End Of The Universe’ achieves anything, it’s to remind us that life is fleeting, and we might never understand what others are going through. But if its mission statement was, indeed, to kick into ‘sincerity overdrive’, then it’s only because of the vulnerability and openness of its author that it actually hits the mark.
“I’m a bit worried about it,” Antony says candidly, on the idea of performing the pair of more autobiographical tracks live in his upcoming live shows. “We’re gonna finish [the set] triumphantly with a big tune, and then I think I’ll come back on my own [for the encore], and I’ll probably destroy my fucking self. I think doing [those songs] at home, in front of all my friends, my family and my mum, that’s gonna be super difficult,” he says honestly, before a familiar glint appears in his eye. “But then, what’s the point in doing it if you’re not giving everything? That’s the point of the show, it’s the missing piece. I couldn’t do ‘sincerity overdrive’ without pushing myself to the limit there! I’ll cry on stage,” he nods, before catching himself, “but probably not even at that bit – probably during ‘Yoga Teacher’ for no reason. Too horny, started crying!”.
I want to highlight an interview from PRS for Music from April. They were doing a series focusing on artists on the road and their experiences. Antony Szmerek discussed the importance of PRS, but he also revealed what it was like playing the prestigious SXSW. Something that is a dream and goal for so many artists:
“With influences that range from ‘00s hip-hop to pop and British indie greats, Antony’s wide-ranging approach bleeds into his stage presence, which is filled with generosity and spirit. Back in March he flew out to SXSW in Austin, Texas to make his US live debut — funded by a grant from BBC Introducing and PRS Foundation — before returning to the UK to embark on a run of headline shows, including a sold-out night at his hometown’s Albert Hall.
With his tour now extending into Europe and a summer filled with festival appearances, M caught up with Antony for the inaugural edition of our new On The Road series to hear, in his own words, what it's like to grow and thrive as a live act in 2025.
Allow Content?
This article contains content provided by third parties. We ask for your permission before anything is loaded, as they may be using cookies and other technologies. To view this content you will need to update your cookie preferences.Update Preferences
‘Travelling to Austin and performing at SXSW was life-changing. I think there was a weird sense of anticipation on the plane there [from London], as many of us artists who had received funding wound up sitting together. I would find myself peeking over seats and thinking, “What’s corto.alto watching on the TV there?”, or I’d turn around and spot Jasmine.4.t, and we’d wave at each other.
‘I’d never been to the US before heading to SXSW, nor had my band. None of us! It was pretty mad knowing that the music I made at home — so much of which is specific to a time or location — was going to be performed live all the way out in Texas. There was definitely a sense of all of us artists feeling the excitement and thinking to ourselves, “How did we get here?”
‘We played to nearly entirely American crowds. They were all amazing. I think before performing in the States, you can get stuck in your head and your own perceptions; I was trying not to mention line dancing whenever it came to crowd participation. We played at this dive bar one night, which was great — it felt like being in a film. I think I was worried about some of the niche references in my music: for instance, I thought that singing about the Stockport Pyramid would be lost on some people!
‘I think people have different ideas about what SXSW is going to be. Some artists, for example, will aim to get a US agent or radio plugger while they are out there. But I think as an artist, the most important thing is to remain in charge of what your shows look like, and make sure that everyone [in the crowd] has a good time each night you play. If you do that, then all of those other things will come naturally.
‘I met so many fellow British artists while I was out there, which was incredibly special. We were hopping between bars and sharing instruments, or borrowing each other’s equipment when things went wrong. I left the festival with this real sense of community, which energised me ahead of the UK tour that I set out on the following week. It made me realise that this is why I make music. In Austin, I watched a lot of shows — including [bands like] Maruja and Big Special — and came away having had some of the best experiences of live music that I have ever had. I felt incredibly inspired. It was a transformative trip in so many ways.
‘Crucially, we wouldn’t have been able to go to SXSW without the grant that we received from PRS Foundation. I wanted to make sure I had my album out before playing the festival, so I knew that I wasn’t ready for SXSW in 2024. At the start of this year, however, we got the funds we needed to head over to Austin, and as a result of playing out there, we are probably a million miles better and stronger as a live act. Obviously there's now a million things in my [iPhone] Notes about what we saw along the way: there was a blood moon eclipse, and we also experienced a thunderstorm while travelling back!”.
DORK chatted with Antony Szmierek in February. Going from being a teacher – I am not sure if he still teaches now and then – to an Indie-Dance/Hip-Hop hero who is making this striking music, it is always revealing reading interviews. An artist who can make the mundane so important and almost spiritual, there have been a lot of comparisons with The Streets’ Mike Skinner. How he could deliver these scintillating, witty and relatable songs but back them with incredible compositions. Making them epic and swelling. That fusion of the ordinary and extraordinary. Something that Antony Szmierek does throughout the sublime Service Station at the End of The Universe:
“‘Service Station At The End Of The Universe’ transforms a motorway services on Antony’s fantasy motorway, Andromeda Southbound, from a place where dreams go to die into a study of social complexity, following the lives of the different characters that pass through on their way to a yoga class, a wedding, or back home to the one they love.
Introducing characters that in part represent Antony’s beloved North West upbringing, such as “the Patron Saint of Withington” in ‘Rafters’, but also illuminate parts of Antony’s own personality and questions that he himself deals with on a daily basis. Whether it’s accusations of being a class traitor in ‘Yoga Teacher’ or trying to cope with overthinking and existentialism in ‘The Great Pyramid of Stockport’, Antony’s whole self is poured into every aspect of the record, making it as genuine and believable as it could be.
Drawing on his eternal love for ‘The Hitchhiker’s Guide To The Galaxy’, one that ignited Antony’s passion for language, as well as local landmarks that have become key pillars of his life thus far, every picture is painted with nuance, style, and an observational accuracy that even the most experienced novelists struggle to recreate.
Pulling different literary ideas to the edges of their existence and rewinding threads to fit his huge new universe allowed Antony to create more lyrical layers than is possible on singles and EPs and underscores his immense writing talent.
“I guess in a way writing it was a lot like teaching,” Antony posits, “there’s something for the five kids in the class who really want to listen and pick up hidden meaning, but that doesn’t mean that there isn’t also something for people who just want really fun tunes with a good hook. I sort of take on this role of almost an omniscient narrator but also become the characters, it all winds together in the end.”
PHOTO CREDIT: Patrick Gunning
This ethos is at the heart of almost every track on the record, taking a seemingly everyday object or idea and elevating it into something with a profound and often existential meaning. The most obvious example of that comes from single ‘The Great Pyramid of Stockport’, which sees Antony take a local landmark and draw threads to the Pyramids of Giza, using two structures built centuries apart to explore legacy in a world that values speed and innovation.
“I was really surprised that nobody had written a song about it before; I was certain that Blossoms were gonna mention it on their album! On the surface, it just sounds like a song about this insurance company’s office in Stockport, but there’s a lot on there about getting older and time never stopping. There’s also a line about me cancelling plans because nothing feels real and I’m in tears in my bedroom, which sounds mad to have in a song about a big blue pyramid. I basically use observations as a way of projecting quite a complex idea, so the Stockport Pyramid actually ends up representing the question: ‘What’s the point in any of this?’”
Taking his cues from goth giants The Cure, Antony tried to be as sneaky as possible with his introspection, peppering super vulnerable lines into songs that you can only pick up on after a few listens. In this way, the album is able to bring together complex trauma responses and deep-rooted existential anxiety without ever getting weighed down by heavy topics.
“I definitely consider the album to have a Side A and Side B, and it is a spiral; everyone’s meeting at this service station before they go off and do whatever it is they do to make this meaningless existence worthwhile, like falling in love or going to a yoga lesson, and then it’s like ‘fuck, what if none of this means anything?’”
This hitman-like style of hiding his vulnerabilities comes to a head in ‘Restless Leg Syndrome’, a stream of consciousness that acts as the end of the album’s spiral, representing rock bottom before the album bounces back to peace, love, and joy. It’s fair to say that it’s the song on the album that is likely to become a fan favourite thanks to its brave open-heartedness, but also the one that Antony struggles with the most.
“I just worry it’s a bit much,” Antony states, “I’m proud of it, and I’m glad it’s on the record, but it’s the only one where I didn’t hide any lyrics, and it’s a bit scary. We’ve had to play it back to management, and the label and stuff, and people seem to like it, but I have to cover my ears and look away. I’m dreading playing it live the first time because I can’t get through it without crying at the moment.”
He continues: “I still wanted the record to be optimism bottled, though, and that’s why it ends on ‘Angie’s Wedding’. I guess it’s an allegory for heaven, it’s not elitist, everyone can go, it’s a celebration. I just needed to resolve it and say, ‘It’s all going to be ok in the end’, instead of ending on ‘Restless Leg Syndrome’ or ‘Crashing Up’, which is about getting older and having eczema; what a nightmare life is!”
Sonically, the record is as rooted in Antony’s personal and local past as the lyrical subject matter, clearly marked by Forton Service Station’s Pennine Tower adorning the album cover. Initially, though, re-establishing these close ties to the historically well-documented Manchester music scene was something that Antony pushed back against.
“I looked away from Manchester at first because I was trying to subvert my own expectations and second-guess what might come later, but it reached a point where I was like, ‘Nobody knows who you are yet; you’ve got to stick to who you are and what you do’”.
I will end with a review. Providing a five-star glowing assessment of one of this year’s most dazzling and distinct debut album, DIY took us back to Antony Szmierek’s earliest work. To show how he has progressed and where he has come from. He has some live dates booked for next year, so do go ands catch him if you can. I am really thrilled at all the attention has got and the fact his music has connected with so many people. I have heard that his live shows are the stuff of legends. I shall have to see Szmierek play if he comes to London:
“To understand Antony Szmierek look no further than the title of his 2023 EP, ‘Poems To Dance To’, an apt depiction of the ex-English teacher’s rising blend of rhythmic spoken word and dancefloor ready production laying the backdrop for musings ranging from personal relationships to obscure places, and a poignant balance of fantasy and heavy realism. The sci-fi inspired title, a nod to Antony’s childhood favourite ‘A Hitchhiker’s Guide to The Galaxy’ that also spurned his breakthrough track, lays the path for references to home city landmarks, from the looming Stockport pyramid to the North West’s right-of-passage pub crawl, the Didsbury Dozen. It’s indicative of his outlook on his surroundings, an ever-blurred line between the tangible and the intangible, and one that will draw inevitable and not unjustified comparisons to the work of Mike Skinner. It’s prominent in the interlude’s respite found in the service station, a transient place that provides much needed consistency to the protagonist. His understanding of place grounds the otherwise lofty musings, not least the stunning stream of consciousness rising out of highlight ‘Restless Leg Syndrome’. It’s this stark contrast between the emotive and the physical that underpins much of his writing, mirrored further in the record’s pairing of poetry and inherently British genres ranging from acid house to garage and beyond. ‘Service Station…’ glides through this constant push and pull, a timeless portrayal of both the physical and emotional connection to people and place; fundamentally British yet beautifully universal”.
One of my absolute favourite albums of this year, Antony Szmierek’s Service Station at the End of the Universe is endlessly listenable. You will come back time and time again. In terms of highlights, I think Yoga Teacher and Angie’s Wedding. All twelve tracks are jewels. Anyone who has not heard this album or knows about Service Station at the End of the Universe should correct that, as Antony Szmierek is someone you will be…
HEARING a lot more from.