Introducing Interview: Breymer

Set to release their new album, When I Get Through, later this month, Minnesota born artist Sarah Walk – aka Breymer – creates sweeping indie-pop anthems, oozing a raw emotion and stirring heartfelt splendour. Exploring their relationship with gender and identity, the album marks the first since they recently changed their artist name – from Sarah Walk to the more androgynous Breymer – to reflect how they feel about themselves after their recent top surgery. Interweaving lush layered vocals and a shimmering textured musicality as it reflects on a personal journey of self-discovery with a stark honesty, it’s a truly exquisite collection.

We caught up with Breymer to find out more about the album, their live shows and being a queer artist in the industry. Have a read and watch the beautiful live video for latest single, ‘The Feeling (When I See You)‘, at the bottom of the article.

Hi Breymer! Welcome to Get In Her Ears! How are you doing today?
Hi there! I’m doing well thanks. Busy as ever preparing for these album release shows!

Are you able to tell us a bit about what initially inspired you to start creating music?
It was never really a decision, I just always found myself gravitating towards the piano writing my own songs. Even as a young kid, around four or five years old, I would refuse to practise piano learning other songs and would instead just sit there and put on performances of my own ideas. I always had this desire to create and share.

I love the raw stirring emotion and glistening musicality of your songs, but who would you consider to be your main musical influences?
I grew up listening to a lot of different music. I like to think of them as inspirations and not influences so much, or at least not intentionally. When I was young I loved pop and rock music — Hanson was my first album (don’t hate on it, that debut LP rules) Third Eye Blind, the Goo Goo dolls… I loved that kind of classic pop melodic sensibility. Then as I got a little older I started to love R&B and hip hop, like Usher and Jay Z, I think it was the rhythm that really was mesmerising to me, and then that turned into folk music like Paul Simon and Joni Mitchell as I got a little older. The last in that core discovery period of my youth was probably indie bands, like Radiohead, Fiona Apple and Phoenix. I like to think there are specific elements of each of those genres that still inspire my music today.

You recently announced the release of your upcoming album When I Get Through, which is super exciting! It’s been described as a collection of songs exploring your relationship with gender and identity – are you able to tell us a bit more about this and how this theme has inspired your writing?
The album really follows my entire journey of getting (and decided to) get top surgery. The beginning of the album opens with a song which documents the first time I ever told anyone (outside of my partner) that I was considering the surgery, but I still had so much internal shame and repression. Throughout the course of the album, I process these emotions and find my way to the final track ‘Anesthesia’ which leads me into the operating room. It’s a deeply personal album, and I wanted the focus to be on the process and the journey instead of the result.

And how would you say the process of recording the album has differed from your previous releases?
Each time I make an album it has a totally different feel to it. A lot of that is based on the way you record, or the arrangement of the songs, but I think the biggest element involves the people you bring in to make the album with you. This album was primarily made by myself and Tyler Chester, who produced it. We had Abe Rounds, my dear friend, play drums as well, but for the most part it was just me and Tyler putting it together. That was a different approach for me because the previous two albums were more of a band dynamic. I think it made for a really personal and vulnerable environment where I felt like I could try and things and make mistakes. Tyler was wonderful in cultivating a really thoughtful and inclusive environment where getting the song right was the priority. There was no ego involved.

Following the album’s release, you’re heading over the UK in November to play a couple of shows. What can fans expect from a Breymer performance?
Well for one, I’m very much looking forward to playing with a full band again. I always have so much more fun on stage with other people, and I’m really thrilled to be bringing back some of my favourite musicians with me. I think the Breymer project has really allowed me to think intentionally about what this new name should represent. And for me, particularly alongside the album content, I want joy and reclamation to be at the forefront. While this album (and performing it) will undoubtedly bring a lot of vulnerability and fragility, I want the end result and the embodiment of who I am now as an artist to be on the other side of this; acceptance, freedom and joy.

And has there been a specific show you’ve played over the years that stands out as a particular highlight?
The best shows for me aren’t necessarily the biggest ones, but the ones where I have the most fun on stage with the people I’m playing with. One show that comes to mind was about 2 years ago at a really small club in London. I was co headlining with a really good friend of mine, and one of my dear friends (and former college bandmate) Lenny Brown who was playing bass with me. He’s just the best and makes any gig 10x better. The other songwriter who I was performing with came on stage to sing a song with me, and for some reason (it was the end of a very long and exhausting tour, so we were sort of losing it at this point) I could NOT stop laughing. I don’t know what got into me, but I just couldn’t even get through the song. Hopefully the audience members didn’t think I wasn’t incredibly unprofessional, but honestly it’s nights like that, particularly when you’re so exhausted, that just lift the mood and make you remember how fun performing with your friends can (and should) be. I think I value that more and more as I get older. It should be fun.

And when you’re out on tour, or playing gigs, are there any particular essentials that you like to have with you to keep you going?
I’ve definitely got my staples that I’ve learned help me a lot. One would be all of my sleep items. I used to be such an easy sleeper, but those days are gone (especially on the road). So now, I need an eye mask, a small fan that I always travel with, and a noise machine I play from my phone. I feel so lame but sleep is SO important and I’ll do whatever it takes. I also love to travel with my aeropress coffee maker. It’s easy to travel with and I’ve found that making your own coffee on the road saves you SO MUCH money. It’s also (most importantly) such a nice way to instil some sense of routine and control into an otherwise extremely unpredictable and chaotic schedule.

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
I saw this article today that said in an interview with 1200 musicians, 67% of female identifying respondents said they had been a victim of sexual harassment, and over 70% discriminated against. Now that may not all be FROM the music industry, but I wouldn’t be surprised. I think there has been a huge shift recently, particularly in mainstream pop, where queer female artists are becoming much more outspoken and on the front lines, and that visibility is amazing. But I also think with that visibility comes more transparency about these other issues, like  discrimination, sexual harassment and severe depression. It’s such a tough industry, even without these things, so when you pile that on top of it, it can feel unbearable.

And are there any other new bands or artists that you’d recommend we check out at the moment?
I played a few shows last week on the east coast and met another artist who was an opening act in Asheville, NC. His name was Michael Flynn and his artist project is called Slow Runner. It was funny because he saw my setup on stage and said he had the exact same setup – same keyboard, and a small drum machine to accompany his playing. We also had weirdly VERY similar outfits on. There was just had this weird ‘cut from the same cloth’ thing going right away. Anyway, I absolutely loved his performance, and I think one of his songs called ‘Vape King’ was probably one of the best written songs I’ve heard in the past few years (it’s not out anywhere, but hopefully he records it soon….). Anyway, he was awesome and we’ve kept in touch and are going to write together via Zoom soon. Moments like that are such gems on the road.

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I have two more US album release shows ahead of the UK dates that I’m super excited about and working really hard on. We will be playing the whole album top to bottom, raising money for local gender affirmation clinics through raffles from local business donations, and displaying a few LGBTQ+ visual artists work in accompanying gallery spaces at the venues.

Huge thanks to Breymer for answering our questions!


When I Get Through, the upcoming new album from Breymer, is out next Friday 18th October via One Little Independent Records – pre-order here. Catch them live in the UK next month – playing Brighton on 25th November and London on 26th November. More info here.

12th October – US, LA – Wonzimer Gallery
26th October – US, MN – Berlin
25th November – UK, Brighton – The Folkore Rooms
26th November – UK, London – Paper Dress Vintage

Photo Credit: Simone Thompson

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INTERVIEW: Scrunchies

With their latest album, Colossal, being one of the last albums that the legendary Steve Albini recorded and mixed, and having supported the likes of Built To Spill and Otoboke Beaver on tour, Minneapolis based riot grrrl-inspired band Scrunchies are cemented themselves as definite ones to watch and are new favourites for sure. I can’t get enough of their raw punk energy and grunge-tinged empowering allure, and highly recommend you treat your ears to the album as soon as possible.

We caught up with Scrunchies to find out more and chat about the experience of recording with Steve Albini, their enjoyment of performing live, their thoughts on the inclusivity and accessibility of the music scene right now, and more. Have a read, and then make sure you watch their fantastically fun music video, created in collaboration with Los Angeles-based “dance aerobics celebration Pony Sweat!

Hi Scrunchies! Welcome to Get In Her Ears! How are you doing today?
We’re good! We are driving home from tour, somewhere between Kansas City, Missouri and Minneapolis, Minnesota. We’re excited to get home to our pets, partners, and beds.

Are you able to tell us a bit about how you initially all got together to start creating music? 
Laura and Danielle were both in bands that had played together over the years (Kitten Forever and Bruise Violet) and ended up playing in a Buzzcocks cover band together called Buzzcunts. We loved playing music together and it had been a while since Laura had fronted/played guitar in a band, so we formed Scrunchies around 2017. We had a few bassists over the years and we met Jeremy through his band Double Grave and had him fill in on some shows on bass, including going on a tour with Built To Spill in 2022. We had such a fun time we asked Jeremy to be permanently in the band and wrote the majority of Colossal with him. 

I love your empowering riot grrrl energy and scuzzy punk sounds, but who would you consider to be your main musical influences?
We all grew up listening to Nirvana, so basically any bands connected to them were hugely influential to us as we were growing up: Sleater-Kinney, the Raincoats, The Wipers, The Breeders, Sonic Youth, the Jesus Lizard, Babes in Toyland, Bratmobile, Hole. We’ve been getting a lot of Fugazi as a reference to our music lately which we didn’t really seek out, but we can appreciate. We have also been listening to a lot of pop music in the car (Charli XCX and Olivia Rodrigo)!

You’ve just released your new album Colossal, which is super exciting! Are you able to tell us about the inspirations behind it? Are there any particular themes running through it?
Feminist themes run throughout the album with an exploration of the insidiousness of modern gender expectations, power, and bodies. I (Laura) keep saying that this album is about “sex, death, and rollercoasters”, but that’s not really catching on outside of my own head… I write lyrics that veer more towards surrealistic and poetic imagery with the hope that they can resonate with people in different ways that are impactful to them. This is also the first full album we’ve written since my former band broke up; it is as significant as a long term relationship ending, and exploring that shift is a big part of the content of this record.

The album was recorded and mixed by the late, great Steve Albini. What was the experience of working with him like? And how did the process differ from your previous releases?
We all have different feelings about the recording process in general, but this specific experience was amazing for all three of us. We love Steve’s music and admire his influences on music culture (including his ability to self-critique and embrace growth). Not only has his work had a huge impact on us and our musical careers, but from the minute we walked into the studio it was immediately a comfortable, honest experience. We were kinda nervous but it quickly became easily collaborative and he had our best interests in mind and wanted to help us get what we wanted. Laura started doing vocal takes and he was like “wait, i have this microphone specifically made for women’s voices”. It immediately made a huge difference in our sound. It was so clear he cared about the outcome and didn’t phone it in at all. He was extremely professional and understood everything and the vision immediately. It honestly probably spoiled us for future recording sessions.

Following the album, you’ve just been out on a big US tour. How’s that been for you? And what can fans expect from a Scrunchies show?
Tour was good, despite the fact that the U.S touring landscape has changed a lot over the past few years and is really difficult right now. But that’s a whole other interview! As far as what people can expect, we like to put a lot of energy into our shows. One of our pet peeves is when a loud and exciting band doesn’t seem excited to be playing their own songs. I (Laura)  really love performing; a big reason I’m in a band is because I like playing shows, so I make sure the shows feel fun and exciting because I think playing shows is fun and I’m excited to be playing them. We like to be as loud as we can be at every show, and we have a lot of good energy together – people have commented “you guys really enjoy playing together and look like you’re having fun” and we are!

And has there been a specific show you’ve played over the years that stands out as a favourite, or particularly memorable?
We’ve opened for Otoboke Beaver from Japan twice and they are SO fun to play with – they go out of their way to meet and interact with their opening bands, take photos with them, etc. Touring with Built to Spill and Prism Bitch in 2022 was such a good experience and they were all the kindest, coolest people. We played Treefort in Boise, Idaho outside during a snowstorm, which was like playing in a snow-globe. 

And when you’re out on tour, or playing gigs, are there any particular essentials that you like to have with you to keep you going?
In no particular order:
Inhaler; Almond butter and bread; Lots of coffee; Red Bull; Eyemask and earplugs for bed; Breakfast sandwich; Swimsuit in case of pool; Quiet time/introvert time; Athletic shorts; A good pillow.

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
Yes and no. The music scene (at least from our vantage point) is definitely more diverse than it was a number of years ago. It is less common to see an all white-cis-male lineup every day of the week than it was a few years ago. There are many venues that have developed Codes of Conduct for their shows that adapt a zero-tolerance policy for harassment. Many places have done away with gendered bathrooms. Many organisers ensure there is an accessibility note for spaces. There are more women/non-men, queer, and BIPOC folks who have made their own spaces to create and share their art. This influx of diversity in the music scene has pulled in different genres (theatre, art, etc) that showcase a huge variety of weird/queer/unique creativity in a bunch of different mediums. Despite all of this, there is still racism, sexism, ableism, fatphobia, homophobia, and transphobia that continues to permeate the music and art scenes. Much of it has become slightly more covert than overt in the past few years, but it’s still there. We see it happening to us, we see it happening to others. This continues to remind us that we need to stand up for and take care of each other – we hope that we are doing what we can to compassionately hold each other to accountability.

And are there any other new bands or artists that you’d recommend we check out at the moment? 
We played with an awesome band called Violet Approach in Kansas City, amazing queer feminist punk band! The two bands that opened our Colossal release show- In Lieu and Mary Jam – are two of our favourites in Minneapolis right now. Heet Deth out of Chicago are a two piece who sound HUGE. Amazing live show, fantastic people. Skorts out of NYC blew us away at our Brooklyn show at Baby’s All Right, we’re so excited to see what comes next for them! There are so many amazing young queer kids starting pump bands in the Midwest- we had the opportunity to talk about them and the bands in Minneapolis that THEY love in this article – lots to check out in there!

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention? 
Right now we’re focusing on promoting Colossal, getting back on the road (along with some at-home shows) and hopefully getting over to Europe! 

Massive thanks to Scrunchies for answering our questions! Make sure you watch the fantastically fun video for ‘Generator‘ now:


Colossal, the new album from Scrunchies, is out now via Learning Curve Records. Order here.

Photo Credit: Darin Kamnetz

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Video Premiere: Piney Gir – ‘Show Me The Lightning’

Having toured the UK, Europe, Australia and America extensively over the years – singing and playing keys/percussion with Gaz Coombes, performing and arranging backing vocals for Noel Gallagher, and supporting the likes of Ride, The Brian Jonestown Massacre and The Magic Numbers (to name a few!) -, Piney Gir has recently released her new EP, Cosmic Upside Down. Completing a magical trilogy of releases, following Alchemy Hand in 2022 and its predecessor Astral Spectra in 2021, the EP marks twenty years since Piney Gir released her first album, Peakahokahoo. Touching on themes ranging from climate change to feminism, it maintains the spiritual roots and majestic immersive splendour that we’ve come to know and love from the self-proclaimed ‘witch’ of indie-pop.

Taken from the EP, ‘Show Me The Lightning‘ sees Piney embracing the storm of her emotions. Dripping in psychedelic synths and glistening reverb, it offers a powerful slice of retro garage-rock, complete with ’60s-inspired organs and cyclical guitar, as Piney declares she “wants to feel it all”. Impossible not to get caught up in its jaunty, lilting energy and the sparkling allure of Piney’s lush honey-sweet vocals, it offers an uplifting and captivating ode to the power of the natural elements; recognising how weathering a storm can help us to grow. She explains:

“In the song I kind of dare the elements to pull out all the stops! Like, give it to me, I want to feel it all!  And that’s true, I want to feel everything, the good and the bad, the highs and the lows. I think it’s important to be in touch with the whole spectrum of emotion & not numb the stormy weather, but to go with it.”

‘Show Me The Lightning’ is accompanied by a brand new new video, created and directed by Parenthesis Dot Dot Dot. Depicting Piney Gir as a quirky, witchy weather girl, and featuring appearances from an ominichord, dog puppets and even an ‘omin-dog’, it offers a wonderfully off-kilter visualisation of the track; a fun-filled tale of supernatural forces which is not to be missed! Talking about the inspirations behind the making of the video, the director explains:

“The original idea came from one of Nick Cave’s documentaries about when he moved to the UK, and began obsessively writing about the weather in an altered state. So much so that he started to believe that he was in control of the weather. It then spiralled out of control and became something bigger, a sort of weird Tim Burton-esque B-movie thing involving special effects and puppets!“

Piney adds:

“I love how deranged and happy he coaxed me to be as the weather girl filling the world with storms… I really enjoyed the bit where I bring the Omni-dog to life. I can’t believe Parenthesis made that dog puppet overnight, its teeth were made of rubber bands, and it fit perfectly around my Omnichord! Was ridiculously fun shooting this!“

Watch the “ridiculously fun” new video for ‘Show Me The Lightning’, for the first time, here:


Cosmic Upside Down, the new EP from Piney Gir, is out now on No Distance Records. Download / listen on bandcamp now. And don’t miss a special night celebrating 20 years since Piney Gir’s first album on 13th October at The Lexington – she’ll be joined by a superstar line-up including Anat Ben-David (Chicks On Speed) and  Psycho Delia (Robots in Disguise) and DJ Chewy She – nab tickets here!

Mari Lane
@marimindles



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WATCH: The Baby Seals – ‘Yawn Porn’

Following the release of their debut album, Chaos, earlier this year, and ahead of their headline gig with us at The Cavendish Arms on 12th September, Cambridgeshire feminist punks The Baby Seals have shared a homemade video for album track ‘Yawn Porn‘. Showcasing the band’s ability to bring a cathartic sense of fun to poignant subject matter, the track races with a driving energy and gritty raw emotion, offering a fierce take down of the continuing sexism and derogatory imagery that consumes the world’s porn industry. Of the track, front woman Kerry explains:

“Porn has been something I’ve been concerned about for a few years now, especially as I have friends with young children who could have access to it soon. And it always seems to end in the same way, with the same theme of women being minimalised, and always in a submissive role. ‘Yawn Porn’ is about the fact that I’d like the industry to shake it up a bit, and to celebrate women enjoying sex. I think we are failing our young people by allowing the industry to continue in a way that is derogatory towards women, and feel that we should be guiding young people to have healthy sexual relationships.”

The video for ‘Yawn Porn’ was filmed by the band in Brighton, and features some punk friends that they made on the beach that day, dancing and singing along to the track. Kerry adds, “I like that all our videos are very DIY, because I want people who might not necessarily be confident enough to pick up a guitar or be in a band to watch them and to know that anyone can do it as long as you’re having a good time!”

Watch the brand new video for ‘Yawn Porn’ here:


Don’t miss the chance to catch The Baby Seals live at The Cavendish Arms, next Thursday 12th September. Support comes from indie legend Charley Stone and exciting new band Skutterfly. Tickets are cheaper in advance, and it really helps us and the bands if you’re able to nab yours sooner rather than later – so, pick one up on Dice now!

Chaos, the debut album from The Baby Seals, is out now via Trapped Animal / Green Island / Big Romantic.

Mari Lane
@marimindles

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