Five Favourites: Sophie Jamieson

Having received acclaim from the likes of Brooklyn Vegan, The Line Of Best Fit and Under The Radar, London-based artist Sophie Jamieson has now shared her exquisite second album, I still want to share, via Bella Union. Reflecting on themes of love and its many meanings, the album showcases Jamieson’s ability to create stirring celestial soundscapes with an added orchestral splendour. Rippling with the soaring raw emotion of her rich, resonant vocals, alongside an immersive shimmering musicality, it’s a beautifully heartfelt collection.

We think one of the best ways to get to know a band is by asking what music inspires them. So, following the release of I still want to share, we caught up with Sophie to find out about the five albums that inspired the writing of the new album the most. Read about her five favourites, listen to the album, get tickets to see her live and watch the beautiful new video for ‘I don’t know what to save‘ below.

Anna B Savage – in|FLUX
It’s hard to overstate the impact this album and this artist have had on me. Sometimes you hear a voice or a song that sounds familiar in a bodily way, but that also opens a door into more daring territory. Everything Anna does feels so… physical. Tangible, clutchable. There’s so much life bubbling through this record, so many sounds, such a sense of play, but with direction, earnestness, confidence, heart. It came out just after we’d begun recording. Something about its attitude crept into ideas I brought into the studio. One day we were working on ‘Baby’ – I said to Guy, I want some weird, bending sound here. Something loose – I found myself playing him ‘Crown Shyness’ which has this roar bubbling away through it, unsettling you. Inspired by that we detuned the guitar from note to note with some effects to create a similar sense of elasticity. We actually managed to put some kind of bending note into almost every song. I think a lot of Anna also crept into ‘How do you want to be loved?’ The moments of strangeness and grittiness amongst warmth and rich melody in this record played a big part in what I felt able to want from my own music.

Angel Olsen – Big Time
I’ve hammered this album pretty hard. It’s definitely one of my favourites of all time. I’m finding it hard to pin a finger on what has been most inspirational, because my album was written over four years and recorded over one. I’ve taken in a LOT of music over that time. But looking back, this record sank deep into my consciousness about six months before I went into the studio. The simplicity, the imperfections, the space. It’s epic, and intimate, also light, full of love, and full of tears. Angel sounds like she’s crying most of the time. I think the albums I love and learn from span the full breadth of the human heart and capacity within whatever they are exploring. That means touching upon highs as well as lows, and leaving space for hope. There’s a drum part I find sooooo satisfying and bouncy in ‘All The Good Times’ and I think that might have crept into the drums for ‘I don’t know what to save’. This record set a beautiful example for me that songwriting doesn’t have to reinvent any wheels or say anything other than what is. It also showed me the power of what a voice can do, when you let it come out as raw as this.

Daughter – Stereo Mind Game
A theme is emerging – the albums that came out during recording time couldn’t avoid coming into the studio with me. I’ve been a huge Daughter fan as long as they’ve been going. Elena’s understated vocals and gut-punch lyrics have driven me since my earliest songs. I couldn’t say what exactly fed into my album from this one but I know it’s there. This is a perfect record. I believe Elena worked almost obsessively on it for years, and scrapped some or all of it and started again… Perhaps just knowing that I feel deep love and appreciation for the level of attention to detail, the crafting of energy, push, drive, space. I think Daughter have always tickled the part of me that wants to be overwhelmed by music, and overwhelm a listener myself. If I had to find a detail that inspired me, it would be a part of ‘Dandelion’ where there’s another bendy note (!) which is a guitar in reverse reverb with loads of gain I think, it sounds like a revving engine. I was obsessed with it. I think it fed into a sound in ‘Welcome’ that revs up an octave between the verses. 

Hannah Cohen – Pleasure Boy 
This is the odd one out choice for me. My only one here not released in 2023 (it’s from 2015), Hannah’s 3rd album, Welcome Home is actually in probably my top three albums of all time. Though I wouldn’t quote its influence here as much as this one. I don’t find myself listening to this album much because it feels lonely, and I guess it reminds me of a particularly painful time I was going through when it was released. But I brought this record into the studio as a reference, because there is a spikiness and a fragility about it, as well as a hard kind of strength. It’s a contradictory combination that I guess I recognise in myself. It’s also just full of what feels like unrequited longing. I think it’s stayed with me, quietly, over the years, in my bones somewhere. I’m listening to it now, and it actually hurts. Like when you stick a finger somewhere really tender. I guess that’s what I’d love to do with my music.

Feist – Multitudes 
This was released around halfway through recording, shortly after I broke up with the person who has loved me best in my life, which plays out in ‘Your love is a mirror’ and ‘I’d take you’. This record really made me look at myself. I’m not sure why. There’s a line in ‘Hiding Out In The Open’ which echoed the song I’d already written: “the mirror in another’s eyes / that’ll get you every time / there are a thousand different ways to hide”. I was absolutely grabbed by this song, and the other stripped back ones on the record (‘Redwing’, ‘Love Who We Are Meant To”) in which the arrangement is so intimate and touchable, the recording is so alive. It really raised the stakes for how close you could get to the listener’s ears, and with those uncomfortable truths. I think it fed into “I’d take you”, which I wrote and recorded at home over a weekend that summer. This album really feels like a reckoning with something foundational and elemental. It does that with very little and also a lot, the dynamic range is enormous, and the sense of space is constantly morphing and bewildering. I love that.


Huge thanks to Sophie for sharing her Five Favourites with us! Watch the beautiful video for ‘I don’t know what to save’ below.


I still want to share, the new album from Sophie Jamieson, is out now via Bella Union. To celebrate, catch Sophie live this month – all dates and tickets here.

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PLAYLIST: January 2025

Welcome to our first New Music Playlist of 2025! The Get In Her Ears team have put together an eclectic mix of alternative, grunge & shoegaze anthems, alt-pop tunes, punk bangers, immersive electronic soundscapes and indie musings for your listening pleasure. Take some time to scroll through our selections below and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to see all of our previous playlists too. As well as streaming these tunes, we encourage you to follow the artists we’ve featured on social media, sign up to their newsletters, buy their records and merch from bandcamp and attend their gigs if you’re able to!

 

THE NONE – ‘My People’
After naming THE NONE as Ones To Watch for 2025 earlier this month, it’s great to see that the Birmingham/London punk band are firing on all cylinders with their latest single. ‘My People’ is taken from their upcoming EP, CARE, which is set for release on 14th February, available exclusively on bandcamp. The four tracks that form it are a visceral statements of autonomy, shrouded in THE NONE’s trademark ear-splitting cacophonies. I can’t wait to catch them playing live again at Oslo in London on 29th March. Watch the accompanying video for ‘My People’ here.
(Kate Crudgington – Features Editor)

Scrounge – ‘Higher’
GIHE faves Scrounge are BACK! The South London duo have announced that they’ll be releasing their second album, Almost Like You Could, on 18th April via Ba Da Bing! Records. This track ‘Higher’ is the first taste of what’s to come. It’s a powerful, biting reminder that Scrounge are fuelled by the desire to create meaningful art that represents the voices of the allies and the communities that they are a vital part of when they’re offstage. We back that all the way. (KC)

The Pill – ‘Money Mullet’
I’m not quite sure how The Pill had passed me by until now, but I was lucky enough to see them at The Old Blue Last as part of DIY Magazine’s Ones To Watch evening a few weeks back, and was an instant fan! They ooze heaps of charisma and a wonderful tongue-in-cheek wit delivering their wildly energy-fuelled, gritty garage-rock anthems.
(Mari Lane – Managing Editor)

Pigeon Dog – ‘Wet Washing’
North London trio Pigeon Dog first came to my attention when they supported Dogviolet at their special single launch show at The Victoria last year. They instantly blew me away with their stark grunge-tinged post-punk and gritty energy, which showcased perfectly in this new single. With shades of the likes of Dry Cleaning, ‘Wet Washing’ ripples with scuzzy hooks and an immersive raw power. Of the track, the band explain: “’Wet Washing’ is about chaos; the extreme hyperactivity used to try and counteract being broke, depressed, existential and lethargic. Making yourself so busy that you lose all sense of who you are and why you’re doing the thing in the first place. Really hope you don’t relate.” (ML)

Slung – ‘Laughter’
I love the cathartic opening scream that Slung’s vocalist Katie Oldham unleashes on this track. The Brighton four piece, initially formed by bassist Vlad Matveikov, have announced that they’ll be releasing their debut album, In Ways, via Fat Dracula on 2nd May. ‘Laughter’ is inspired by difficult family dynamics and the resentment that builds up when they’re not addressed. (KC)

ALT BLK ERA -‘Come Fight Me For It’
I caught up with genre-defying sister duo ALT BLK ERA at the start of this month to talk about their debut album, Rave Immortal, which this banger of a track is taken from. Released via Earache Records, on their debut LP Nyrobi & Chaya battle their demons and bring the noise with a tenacious blend of jagged electronics and racing beats. We spoke about their inspirations, life experiences, collaborating with indie rock legends Wheatus and a shared respect for Radio 1 DJ Alyx Holcombe. You can read the full feature here. (KC)

Glixen – ‘all tied up’
A potent, swirling rumination on infatuation, this single from Phoenix shoegazers Glixen features on their upcoming EP, Quiet Pleasures. Set for release on 21st February via AWAL/Wichita Recordings, the EP is looks set to be a visceral headrush of drifting vocals, immense riffs and brooding basslines. I can’t wait to hear it in full. (KC)

Kills Birds – ‘Madison’
Whether she’s screaming or singing softly, I find the vocals of Kills Birds’ front person Nina Ljeti totally enrapturing. This single ‘Madison’ sees her seamlessly blend both of these skills over the band’s unpredictable volume shifts and blistering riffs. ‘Madison’ is lifted from Kills Birds’ upcoming EP, Crave, which will be released on 11th April via Lucky Number. (KC)

Grandmas House – ‘Slaughterhouse’
GIHE faves Grandmas House are back with this brooding new single, described as a raw “love song”. ‘Slaughterhouse’ is taken from the Bristol band’s upcoming EP, Anything For You, which is set for release on 11th April via Duchess Box Records. I’m looking forward to listening to the record in full. (KC)

Gender Chores – ‘January Blues’
Having shared stages with the likes of Problem Patterns, Strange New Places and Sister Ghost, Belfast’s Gender Chores first blasted into our ears with the seething energy of 2019’s Womansplain, and have since been continuing to impress us with their feminist punk-pop anthems. New single ‘January Blues’ is a powerful reflection on violence against women and victim blaming; combining a fierce fast-paced energy with the haunting poignancy of the lyrics, it offers a raging rallying cry to fight against the dangerous patriarchal society. All proceeds from the single on bandcamp will be going to Women’s Aid NI and Nexus NI. (ML)

Loose Articles – ‘Guitars, Cars, Knickers and Bras’
Having shared the stages with the likes of Foo Fighters and The Lovely Eggs, Manchester punks Loose Articles’ debut album, Scream If You Wanna Go Faster, was one of my faves of last year. Taken from the album, latest single ‘Guitars, Cars, Knickers and Bras’ bemoans workplace misogyny with a fierce raw energy and fuzzy allure. Of the track, they explain: “The track points to the collective issue of not being taken seriously as a female musician, which is something we as a band have all experienced… Disillusioned sexism channeled into an anthemic sardonic chant.” We’re super excited to see that Loose Articles will be playing Cro Cro Land in April. Grab a ticket here. (ML)

Touch Excellent – ‘Sober Mind’
“‘Sober Mind’ is an anthem for a new generation that likes to party hard and drink soft,” explain Dublin post punk band Touch Excellent. Through their witty lyricism, gritty riffs and unexpected party beats towards the end of the track, the band explore what it’s like to be the “the last sober person left at the gaff” on this latest introverted yet infectious offering. (KC)

Bria Salmena – ‘Stretch the Struggle’
This passionate new single from Sub Pop signee Bria Salmena is lifted from her upcoming debut album, Big Dog. Set for release on 28th March, the record “chronicles a story of transformation–a deeply personal exploration of resilience and a declaration of artistic independence forged through collaboration,” seamlessly linked together by Salmena’s defiant vocals. (KC)

Roller Derby – ‘Last Night’
Set to release their debut album next month, Hamburg dream-pop duo Roller Derby released a string of singles last year, garnering acclaim from the likes of Charlie Ashcroft on Amazing Radio, John Kennedy on Radio X, and being featured in Record Collector Magazine. A heartfelt insight into feelings of anticipation and desire, new single ‘Last Night’ whirrs with swirling atmospherics, showcasing the band’s ability to combine ‘80s-inspired electronic soundscapes with their own unique sparkling splendour. When The Night Comes, the debut album from Roller Derby, is out on 28th February. Pre-order it here and grab tickets to see them live while they’re in the UK in May here! (ML)

jasmine.4.t – ‘Guy Fawkes Tesco Dissociation’
I’ve made no secret of my immense love of Jasmine.4.t over recent months, having picked her as one of my Ones To Watch for this year. And I’m not alone; she’s been receiving tonnes of acclaim from publications such as Pitchfork, The Line Of Best Fit and BBC 6Music. Her exquisite debut album, You Are The Morning, was released via Phoebe Bridgers’ label, Saddest Factory Records, and reflects on both the camaraderie and isolation that can be a part of transfeminine life with a stirring glistening emotion. A heartfelt ode to queer friendship, it sparkles with a truly captivating majesty throughout. (ML)

Flora From Kansas – ‘The Ghost Is Me’
I love this single from 17 year old Flora Kay aka Flora From Kansas. Taken from her upcoming debut EP, Homesick, which is set for release on 14th March via Melodic, ‘The Ghost Is Me’ is inspired by the rage Flora says she continuously felt in middle school. The track simmers with a quiet angst, softened by the songwriters’ tender vocals and earnest lyrics. (KC)

Dayydream – ‘Fucked Up’
After self-releasing her debut EP, Bittersweet, back in 2022, Glasgow-based songwriter Chloe Trappes aka Dayydream has returned with this brand new single. Backed by her new band, Trappes’ vocals delicately unravel over tentative beats and melodic riffs, making ‘Fucked Up’ a melancholic rumination on love gone wrong. (KC)

Kathryn Mohr – ‘Take It’
Taken from her recent album, Waiting Room, I’m a big fan of this track from Oakland-based artist Kathryn Mohr. Released via eclectic label The Flenser, Mohr wrote and recorded the LP over the course of a month whilst staying in a disused fish factory in Iceland surrounded by remote nature. The result is an intense rumination on the human condition, tethered together through her veiled vocals, field recordings and affecting instrumentation. (KC)

Japanese Breakfast – ‘Orlando In Love’
Hearing that longtime faves Japanese Breakfast were releasing new music this month, it seemed like the stars had aligned as I’ve just been reading Michelle Zauner’s poignant reflection on grief, Crying In H Mart. One of the most heartbreaking, yet comforting and absolutely beautiful books I’ve ever read. Ahead of the release of new album, For Melacholy Brunettes (& Sad Women), ‘Orlando In Love’ offers a shimmering tale of desire, inspired by an unfinished epic by Renaissance poet Matteo Maria Boiardo and rippling with Zauner’s distinctive spellbinding allure. (ML)

Julien Baker and TORRES – ‘Sugar In The Tank’
Just when I thought I couldn’t love Julien Baker more, she starts the year by announcing the release of a debut album as part of a collaboration with fellow fave TORRES. In the works since they played their first show together back in 2016, the country-inspired album is due out in April, and I cannot wait. Ahead of the album announcement, at the end of last year, they shared a joyous video for this lead single featuring queer country dance party Stud Club. It’s the stuff of every queer country gal’s dreams, and I’m already obsessed. Send A Prayer My Way, the debut album from Baker and TORRES, is set for release on 18th April via Matador Records. (ML)

Florist – ‘Have Heaven’
Having been a big fan of New York quartet Florist since becoming quite obsessed with The Birds Outside Sang back in 2016, I was excited to hear that they’ll be releasing a new album in April. Ahead of the album, they’ve shared ‘Have Heaven’, a beautiful reflection on cosmic alchemy and the symbiosis of the worlds of magic and death – themes which they’ve said will run throughout the album. Rippling with the band’s trademark sparkling grace and a delicate lilting energy, it offers a heartfelt plea “for a peaceful place for our spirits to live and land”. Jellywish, the upcoming new album from Florist, is set for release on 4th April via Double Double Whammy. (ML)

Glorybox – ‘Shadows’
London-based trio Gloybox create their luscious synth-driven soundscapes as a means of connecting with and bringing visibility to their queer identity. Exploring issues around bi-erasure and cis/heteronormativity, their genre-defying music draws on ‘90s trip-hop and r’n’b with a fresh, energising power. Flowing with glistening hooks and a soulful impassioned splendour, ‘Shadows’ explores the painful experience of not being seen for who you truly are by the people you love with a stirring resonance. (ML)

Penelope Trappes – ‘Red Dove’
I’ve had this meditative but striking single from Brighton-based Australian producer and multi-instrumentalist Penelope Trappes on a loop since its release. It’s taken from her fifth album, A Requiem, which is set for release on 4th April via One Little Independent Records. ‘Red Dove’ is inspired by an apocalyptic dream that Trappes had and is accompanied by a beautiful video, shot and directed by Agnes Haus. Watch it here. (KC)

Birthday Problem ft. Party Fears – ‘Lines’
It’s been too long since I heard the wonderful voice of Maggie Devlin from Party Fears! Thank you to Irish electronica project Birthday Problem (formed of Matt Harris and Rocky O’Reilly) for bringing her clear, poetic intonation back into my ears. Maggie’s voice is serving a deeper purpose on this track though – ‘Lines’ tells the story of two people forced to leave their homes due to circumstances beyond their control. It’s a creative collaboration with Leila Boukarim & Asaf Luzon, the authors behind A Million Kites, a poignant collection of poetry and testimonies from children in Gaza. Compiled between October 2023 and March 2024, all profits from the sale of this book will be donated to organisations helping the people of Gaza. Buy your copy here. (KC)

Amulets & Midwife – ‘Lifelike’
This is such a beautiful collaboration from two of my favourite artists. ‘Lifelike’ seamlessly blends the mesmerising drones and ambient electronics of Asian-American artist Amulets with the ethereal vocals and hazy reverb of Colorado-based musician and producer Midwife. This track is taken from Amulets’ second album, Not Around But Through, which is set for release via Beacon Sound on 21st February. I can already tell it’s going to be one of my favourite records of the year. (KC)

NYX – ‘Daughters’
I’ve been a big fan of the NYX drone choir for several years now, so I was thrilled to read that they will be releasing their self-titled debut album via their own label NYX Collective Records on 28th March. ‘Daughters’ beautifully showcases their ability to immerse listeners into their instinctive and experimental soundscapes. Totally mesmerising. You can pre-order your copy of NYX here. (KC)

Maud The Moth – ‘Despeñaperros’
This latest single from Spanish-born, Scotland-based multi-instrumentalist Amaya Lopez-Carromero aka MAUD THE MOTH is lifted from her upcoming album, The Distaff. Set for release on 21st February 2025, the LP is an “ethereal but violent” amalgamation of autobiographical experiences, folklore, myth and poetry. “‘Despeñaperros is one of the cornerstones of The Distaff’s universe,” Lopez-Carromero explains. “A canyon and natural reserve with dramatic geology and very violent historical background, the Despeñaperros Pass is a gateway into the wilderness. Its name, which can be translated as ‘where dogs are thrown off the cliff’, has unclear origins and adds to the lore and mystery shrouding this area in the Spanish collective consciousness.” (KC)

ESKA – ‘Down Here’
ESKA’s been such an innovative creator for the last decade, having wowed listeners with her incredible eponymous debut album back in 2015, collaborated with legends such as Grace Jones and Baxter Dury and been a key part of a number of exciting projects including a Royal Opera House comission and Meltdown Festival. Now, she’s showcasing her exquisite musical prowess and songwriting ability with this epic new single. Propelled by an uplifting power, ‘Down Here’ flows with ESKA’s soaring, soulful vocals and a captivating majestic splendour. (ML)

 

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INTERVIEW: ALT BLK ERA

Battling their demons and bringing the noise, ALT BLK ERA’s debut album Rave Immortal is a tenacious blend of jagged electronics and racing beats designed to dissolve the pain of their past. Released last week via Earache Records, the record cements the genre-defying sister duo’s status as ones to watch in the alternative music world.

The last time we caught up with Nyrobi (20) and Chaya (17), it was 2023 and they were on the cusp of releasing their debut EP, Freak Show. The five tracks that formed it displayed their vivid personalities and antagonistic spirit – with Nyrobi’s vocals possessing a fiery ‘SOLAR’ energy and Chaya’s voice veering into more mystical ‘LUNAR’ realms. With Rave Immortal, ALT BLK ERA retain their heavy and undefinable sound, but they veer directly into rave territory to exorcise feelings of fear and inadequacy – providing a potent statement of self autonomy in the process.

“I think the concept of it…going from really human emotions – our struggles and our pain and our worries – and being able to transcend that and have it become larger than life, I just think that’s something quite important,” offers Nyrobi, when asked what she’s most proud of about ALT BLK ERA’s debut LP. “It’s important to feel like you can escape reality and that’s what the album does.”

Rave Immortal is largely inspired by Nyrobi coming to terms with living in chronic pain due to a disabling illness that she was diagnosed with during her teens in 2020. It was cathartic for the pair to write the record and to recognise how much they relied on each other as sisters during this time. Nyrobi has only recently been vocal about her experiences of disability online, so what was it that made her feel like she was able to speak out about it this on the record?

“Originally, I chose not to speak about it because I was afraid that people would say ‘don’t book her for this show, she’s disabled, she’s in pain and tired all the time’, or that people would think that we only got the MOBO nomination because it was a sympathy thing,” the vocalist reveals. “So now that we’ve played Download, we’ve played Glastonbury and we’ve headlined a stage at Reading & Leeds, it feels like we’ve done enough to prove that I can do anything that I want to do.”

This defiant spirit is something that has resonated with ALT BLK ERA’s fans. It was important to Nyrobi to use her voice and her platform with the band to highlight the resilience of the disabled community. “My disability doesn’t restrain me in other ways that people might think,” she shares. “My disability, it just came out of nowhere. The doctors are saying that it’s likely to just disappear one day too. Before I announced it, I’d be out and about in town and I’d have my stick or something and people would come up to me and ask if something had happened to my leg, and I’m like ‘oh my goodness, I don’t want to lie’ so now I feel really refreshed that it’s out in the open and I can be myself.

So, I just thought I can be honest on our debut album. I wanted to write about it and I wanted to be a voice in that community. We have so many disabled fans. Before I told anyone about it online, we had someone in a wheelchair come to our show in Manchester. I don’t know what compelled me to tell them [about my disability] but I told them and I thanked them for coming out, because I know how hard it is as a disabled person to leave the house. I just wanted to say that I really appreciated them coming to the show and I shared that with them. They didn’t know how special that was for me, they were probably like ‘why is she talking to me?’”

Nyrobi laughs with the last sentence. The support from both Chaya and the band’s fanbase has motivated her to push past her chronic pain and pursue her dreams of being an artist. We’ve seen this dream materialise in front of us too. We were blown away by ALT BLK ERA’s tenacious spirit when they played live for us at our Get In Her Ears gig night at The Shacklewell Arms in July 2023, supporting Straight Girl. Their riotous energy and powerful stage presence has since led to bookings at some of the UK’s biggest festivals, as well as playing for Radio 1 DJ Alyx Holcombe’s own live music night, MANTRA. Both girls express gratitude for these opportunities and are humbled by the community aspect of both Get In Her Ears and MANTRA.

“Alyx has been one of the few industry people that have supported us,” Nyrobi enthuses. “We’ve experienced so many gatekeepers and people telling us that we’re too young and we’re not ready, but she played ‘Mosh Girl Summer’ on Radio 1 in 2022, when we were 16 and 18 years old. She was supporting us from the first year of our music career. So to play her MANTRA night, we really wanted to make sure it was as big as possible. It was also just really good fun. The crowd was so good and the energy was perfect. You know when good people just bring other good people around them? It was just proper warm and fun without any strings attached.”

For Chaya, one of her favourite things about playing live is getting to perform Rave Immortal track ‘Catch Me If You Can’. “We’ve had that song unreleased for quite a while and I’m so happy we’re releasing it because it’s such a banger,” she enthuses. In terms of favourite tracks, Nyrobi notes that ‘I’m Normally Like This’ is still a big crowd-pleaser, but ‘My Drummer’s Girlfriend’ is a standout track for her because of the “opportunities” it’s given the band, which included a collaboration with American indie rock legends Wheatus.

Frontman Brendan B. Brown saw the girls play live at Download Festival back in 2024 and they connected via social media after they missed an opportunity to talk face-to-face backstage in the press tent. Back then, ALT BLK ERA hadn’t released ‘My Drummer’s Girlfriend’ as a single, but the girls sent it over to Brendan to see what he thought. Before they knew it, Wheatus were flying over from New York to work with the girls on a remix at Spotify Studios.

“Working with Wheatus has just been huge, we learned so much from them,” Nyrobi shares. “We were really honoured to have them travel so far to work with us on our song. They were so respectful. They were so caring and they gave us so much advice. They took it 10/10 seriously and they treated us with so much respect, it was almost surprising. We didn’t expect that. I feel like it’s quite rare to find people that are so genuine and full of love in the music industry, but they actually really cared. They weren’t gate-keeping or anything.”

This ethos of collaboration, equality and respect is something that translates both on and off stage for ALT BLK ERA. The lyrics to their songs center around celebrating your individuality both online and in real life, as they encourage their fans to express themselves in a safe space and speak up if they need support or help, particularly at gigs. ALT BLK ERA are currently on their own UK tour and they’ve set up a Discord channel to keep in contact with their fans. “People make friends in there,” Chaya shares. “We do ‘fit checks and everything, people show us what they’re going to be wearing to shows. We’ve got some ALT BLK ERA jacket patches happening as well!”

For Nyrobi, it’s incredibly important that ALT BLK ERA shows are safe spaces. “We just want to make it really clear that us and our whole team are on your side,” she shares. “We’re not standing for any foolishness. Even if I’m performing and someone looks uncomfortable and they’re trying to signal me, we’re gonna have to stop and find out what’s going on. Because one [bad] experience can really stop someone from going outside, going to gigs and being seen, you know?”

Fuelled by this determination, it looks like ALT BLK ERA are set to dominate more stages and gain even more momentum in 2025, and Nyrobi is keen to keep the ball rolling. “You’ll have to interview us before our second album and see where we are then!” she says – a statement we’ll happily hold both her and Chaya too.

Grab a physical copy of ALT BLK ERA’s debut album Rave Immortal here

ALT BLK ERA UK Tour Dates 2025
Jan 28: Oxford, Truck (In-Store)
Jan 29: Brighton, Resident (In-Store)
Jan 30: Kingston, PRYZM

15 Apr: Manchester, The Deaf Institute
16 Apr: Leeds, The Key Club
18 Apr: Sheffield, Corporation
20 Apr: Birmingham, The Flapper
21 Apr: Southampton, Heartbreakers
23 Apr: London, The Underworld

Follow ALT BLK ERA on bandcamp, Spotify, Tik Tok, X, Instagram & Facebook

Kate Crudgington
kate_getinherears

Photo Credit: Dean Chalkley

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INTERVIEW: Jasmine.4.t

Having just released her exquisite debut album, You Are The Morning, Manchester-based trans artist jasmine.4.t not only featured as one of our own ‘Ones To Watch’ for 2025, but has been receiving tonnes of acclaim over the last few months from publications such as Pitchfork and The Line Of Best Fit, with her latest single ‘Guy Fawkes Tesco Dissociation’ being featured on BBC 6Music’s A List. With the album released via Phoebe Bridgers’ record label, Saddest Factory, it reflects on both the camaraderie and isolation that can be a part of transfeminine life with a stirring glistening emotion. A heartfelt ode to queer friendship, it sparkles with a truly captivating majesty throughout. Whilst it may still only be January, it’s already a definite contender for album of the year.

After catching Jasmine and her band’s stunningly moving performance at The Old Blue Last a couple of weeks back, we were able to have a chat with her about the album, her inspirations and the challenges facing trans artists in the industry, and society in general. Have a read, make sure you check out the album now, and also please consider donating to the Solidarity Fund she mentions at the end of the interview.

Hi Jasmine! Welcome to Get In Her Ears! How are you doing today?
Hi! Thank you! I am very sleepy after getting up at 3:45am to fly to the Netherlands for some shows, but super excited about all that’s going on with my album coming out and the reception it’s receiving. I’m currently on my way to Groningen with my bandmates Eden and Emily, and we are all buzzing.  

Are you able to tell us a bit about what initially inspired you to start creating music?
My uncle left me his guitar when he sadly died by suicide when I was in year two. My dad got me some chord books and I loved learning Jimi Hendrix as a kid. I heard Elliott Smith’s From A Basement On A Hill when I was a teenager, and I deep-dived into his catalogue – my dad borrowed all his CDs from the library and copied them for me. I did the same thing with Iron & Wine. I always wrote alongside learning other people’s songs, and I played in various grunge and punk bands.

I love the glistening energy and raw emotion of your songs, but who would you consider to be your main musical influences?
Elliott Smith and Iron & Wine as I’ve mentioned are big influences, but I think my main influence is Adrianne Lenker. I love her writing, her voice and, in particular, her guitar playing. I am listening to her Instrumentals album right now, it’s my favourite!

You’ve just released your debut album You Are The Morning, which is super exciting! The album reflects on feelings of queer belonging, love and connection, particularly within the trans community – are you able to tell us a bit more about the themes that run through it and the experiences that inspired it?
You Are The Morning is a message of queer hope and solidarity. The songs were written shortly after I came out to those around me, which didn’t go so well. My marriage ended, I tried to move back in with my parents, and when that failed I was homeless for a period. I left Bristol to stay with friends in Manchester where I found community. I fell in love with trans people and met my chosen family, who gave me the strength I needed to start my transition. You Are The Morning is about queer people’s capacity for solidarity but also for change, how we change ourselves and the world around us to bring a brighter future. 

The album’s being released on Phoebe Bridgers’ record label Saddest Factory Records, which is awesome! How did this come about, and what does it mean to you to have been able to work with someone like Bridgers?
I opened for Lucy Dacus in Bristol on her first Europe tour, and we got on really well. She invited me to be tour support for her second album (Historian) tour in Europe – around when my debut EP came out – and we became close and stayed in touch, sharing demos through lockdown. When I got the demos together for the record, I was considering self-releasing, but Joe Sherrin (MOULD/SLONK/Fenne Lily) suggested I submit them to Phoebe Bridgers for Saddest Factory consideration. I didn’t hear back immediately, so I asked Lucy to play the songs to Phoebe if the moment presented itself. I heard back a few months later from Lucy that she had played the songs to Phoebe in the car, and Phoebe was on the phone to her manager discussing signing me! I couldn’t believe it. I opened for boygenius when they came to the UK, and the next day I signed with Saddest Factory. All three members of the band – Lucy, Phoebe and Julien – produced the record. It was a dream come true for me, I’m such a huge fan of theirs, as a band and as solo artists. I feel so lucky. 

And, to record the album, you travelled over to the US to record at the legendary Sound City Studios! How was this experience for you?
Yeah, it was unreal! We had such a good time. I made this band of entirely trans women in Manchester and the label flew me and two of my bandmates – Eden O’Brien and Phoenix Rousiamanis – out to LA. We recorded over two very intensive weeks in that iconic studio. It was such a healing experience, it felt like the hope I wrote into the album the year before was not in vain, because this was on its way. 

I was lucky enough to catch you and your wonderful band live last week at The Old Blue Last – such a beautifully immersive and moving set, thank you. How do you generally prepare for live shows, and what do you enjoy most about them?
Thank you! It was such a nice crowd and my first time playing at that venue. I had such a good time. Travelling as a band of trans women can be stressful at best and dangerous at worst – so before shows we try to relax and hang out together to get in the mindset to perform. The girls are all unbelievably funny, and we don’t take it too seriously. But we know, should anything happen, we have each others backs. Usually, my chosen daughter Yulia Trot comes on the road with us, and her main job is to keep us all safe. Horrifyingly, she has been wrongly imprisoned for her alleged part in dismantling an Israeli weapons factory, on remand until her trial in a year. It is scary going into this year of intense touring without her, but me and the girls are a family and we take care of each other. Hanging with the girls is definitely the best part of playing live. 

Has there been a particular gig you’ve played over the years that stands out as a highlight?
I think my favourite ever show was when we played in the basement of a community favourite pub in Manchester, The Peer Hat. It was for a night that me and some friends organised for the Just Do The Thing transfem meet-up. It was so awesome to play a night of all transfem artists for a majority transfem audience in a packed sweaty basement. 

And, when you’re out on tour, or playing shows, are there any particular essentials that you like to take with you to keep you going?
I always wear my bracelets from my long-distance partners to remind me of their love and support. I always wear at least one Adrianne Lenker hoodie (I’m wearing two right now). I usually take some time before shows to relax and listen to some Adrianne Lenker also.

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?
It’s a pretty shit time to be a trans woman in this country. It’s very unsafe; we are constant targets of violence and harassment, besides the common experiences of homelessness and mental health issues caused by continued interaction with systemic transphobia. We have seen the rise of TERFism, a transphobic brand of fascism perpetuated by figures – including JK Rowling – which has led to a huge backslide in trans access to healthcare. This has been compounded by scare tactics in papers – including The Guardian – when reporting about trans healthcare. Recently, Wes Streeting banned the use of life-saving puberty blockers for trans children, when suicide rates for this demographic are extremely high and rising, while our community mourns the highest recorded rate of violent deaths of trans people. This is the backdrop against which we are trying to make our way as artists. I have been lucky enough to have an incredible manager, Jen Long, who has helped keep me safe and I’m surrounded by people I trust. I have a mostly female and largely queer team. But this industry is very male-dominated at all levels, and from my experience pre-signing, trying to navigate it alone, we trans women encounter friction at every turn. Compounded by the everyday shit that trans women have to deal with, it’s no wonder we are so underrepresented in this industry and in society at large. This has intersections with disability rights and racial injustice – those of us who do break through are almost always white and abled. I am disabled (by society’s failure to meet my ME and POTS related needs), though I pass as abled and I think without Phoebe’s seal of approval and without my white and abled-passing privilege, I would still be struggling to get shows. I think a lot of these issues go beyond the struggle for trans women’s equality in the music industry, but it is just societal ills at work and it affects all of us. I think things are definitely improving at a grassroots level, and I definitely feel cared for by the venues I play, but there’s only so much that small venues, indie labels and promoters can do.

And are there any other new artists that you’d recommend we check out at the moment?
My favourite band from Manchester is Ether Mech. They’re fronted by my friend Vivian, a trans woman I look up to and one of the first people I met when I moved to Manchester. I also love Mould, their new stuff is incredible and they’re so good live. I really enjoyed The Pill and Fuzz Lightyear’s sets at the Old Blue Last show also!

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I’m really looking forward to touring this year but I am feeling worried about doing it without my daughter Yulia. If anyone is able to, please donate to her Solidarity Fund to help us support her in prison, visit her, and help her get back on her feet when she is out. You can donate here.

Huge thanks to Jasmine for answering our questions, and please do consider donating to help Yulia.


You Are The Morning, the debut album from Jasmine.4.t is out now via Saddest Factory Records. Listen / buy now.

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