Features – Page 38 – Get In Her Ears

LISTEN: GIHE on Soho Radio with Whitelands (05.02.24)

The full Get In Her Ears team were back on Soho Radio’s airwaves this month, playing loads of new music from some of their favourite female, non-binary and LGBTQIA+ artists. Tash, Mari and Kate enthused about the eclectic tracks on the playlist, which included Seraphina Simone, pink suits, Tusks, Fraulein, Ski Lift, Worse Off, pecq, NYX Drone Choir, The Baby Seals, Fears, Grace Petrie, Moor Mother, Alvidrez, otta, Slowdive, Dermabrasion and more.

London-based shoegaze band Whitelands also joined them in the studio to talk about their upcoming debut album, Night-bound Eyes Are Blind To The Day, which is set for release on 23rd February via Sonic Cathedral. Etienne, Jagun, Michael and Vanessa chatted about their beginnings as a band at First Timers Fest and Decolonise Fest, the inspirations behind their latest single ‘Tell Me About It’, and their anticipations for their upcoming sold out tour supporting shoegaze icons Slowdive.

Whitelands will also be playing a series of headline in-store shows at Rough Trade, including London’s Rough Trade East on 5th March to celebrate their album release. We’ve all got tickets, so we’ll see you there!

Listen back to the show below:

We’ll be back on Soho Radio on Monday 4th March from 12-2pm!
Make sure you tune in via www.sohoradiolondon.com

Tracklist
Dolly Parton – Dumb Blonde
Amy Gadiaga – Paloma Negra
Seraphina Simone – Better Days
Tusks – Adore
Fraulein – Wait and See
Ski Lift – Double Yellow
pink suits – C.O.F.F.E.E.
The Baby Seals – Mild Misogynist
pecq – closer
Maud – Wherever I Go
Worse Off – Memorialise My Horribleness
The Menstrual Cramps – Abortion
otta – overflow
Birthday Problem ft. Ailbhe Reddy – E.L.E
Alvidrez – Hymn For The Corner
Moor Mother – Guilty
Whitelands ft. Dottie – Tell Me About It
Slowdive – Kisses
**Interview with Whitelands**
Dermabrasion – Halbadier
Bonnie Banane – Franchement
Fears – 4th of the 1st
Schande – Relevant Campaigns
Grace Petrie – Start Again
Waxahatchee – Right Back To It
Smerz, Allina – My Producer
NYX – Void
Destiny’s Child – Girl

February 6, 2024February 11, 2024

Kate Crudgington2 Comments

Introducing Interview: Samantha Lindo

Having released her debut album. Ancestry, towards the end of last year, Bristol-based artist Samantha Lindo has received acclaim from the likes of BBC 6Music and BBC Introducing, and is a regular on the live circuit, having performed at festivals such as Boomtown Fair and Bristol Jazz and Blues festival.

Having received support from the Arts Council and the Mobo Fund of Help Musicians UK to create and release the album, throughout the collection Lindo reflects on her compelling family history, whilst drawing on themes of climate justice and dual heritage identity with a stirring emotion; her rich, soulful vocals rippling throughout shimmering jazz-tinged soundscapes.

We caught up with Samantha to find out more about her experiences of writing and recording the album. Have a read and make sure you check out the album now!

Hi Samantha, welcome to Get In Her Ears! Are you able to tell us a bit about what initially inspired you to start creating music?
I’ve sung from when I was small – being in plays and concerts, where people came together around the arts, were some of my most cherished childhood memories. I guess once I was an adult and had been in several different projects singing other people’s songs, I was in a place in my life where I wanted to start exploring my own inner world and my own healing – and I started creating music from there.

I love your soulful jazz-tinged sounds, but who would you consider to be your main musical influences?
I would say genre-wise I would describe my sound as spanning the realms of spiritual jazz, gospel, folk and spoken word. In terms of artists, my sound is inspired by classic artists like Marvin Gaye, Carole King and Minnie Riperton, as well as contemporaries such as Robert Glasper, Cleo Sol, Sault, and Jordan Rakei.

You recently released your debut album Ancestry, which is very exciting! The album reflects back on your family history – are you able to explain a bit about what inspired you to focus on this as a concept?
During lockdown in 2020 I reconnected with my second cousin in Canada over WhatsApp and zoom. She lived in JA until she was seven, whereas my dad was born in the UK. She was so much more connected to our family history than my dad is, and has pictures, stories and all this amazing information. Viewing it all through the lens of the BLM movement and world issues, gave it all a different dimension. It felt so healing and strengthening to connect to the heritage and history that I’d come from and gave me a new perspective on the future. I felt really inspired to delve deeper into those stories and that process through music.

And what was the writing and recording process like for you?
It was a multi-layered process. The original jamming and improvising around each story was really intimate: me connecting to my different ancestors and being open to what emerged. I’d then share that with my partner Dylan who might structure some chords and musically respond to what I had heard. Then I took a set of rough songs to Alex Veitch, who workshopped each one with me, disrupting my usual process, and finding different chord flavours and structures. We then took the rough recordings to producer, Doug Cave, who helped me imagine each track as a full arrangement before we took them into rehearsals with the band for several days before we recorded the main full band tracks. After that there was a lot of reflection and layering with various session musicians and recording of all the harmonies. I found the labour of all the harmonies the hardest, whereas the performance of the lead vocals flowed really easily. I honestly loved the process. We did most of it in Doug’s house, and I’d bring home cooked lunches and we’d hang out in the garden so there was a really relaxed but hard working feel to it all.

You also received funding from the Arts Council to help with the album – how did you find the experience and applying for this, and what advice could you give to other musicians when applying?
Find your own narrative, what you are saying and why, and also know who you are wanting to talk to, who your audience is. Think of some measurable goals that will let you know you have made the thing you want to and delivered it to the people you wanted to. Be as specific as possible. And get someone to help you who has done it before. There are also sessions you can go to to give you more information about the funds and how to apply.

What can fans expect from your live show?
Playing live is my favourite thing about being an artist. You can expect a compelling, moving vocal performance; storytelling that helps you connect with the music and yourself and a new and different way. And the musicians are also at the top of their game, so it will be an all round immersive, beautiful experience, I hope.

And when you’re out on tour, are there any particular essentials that you like to take with you to keep you going when away from home?
I tend to prioritise keeping as well as I can. Echinacea & apple cider vinegar to keep colds at bay. Diffuser with essential oils for good sleep. Yoga mat for pre-show stretching and warm-ups, and my massive water bottle.

As we’re an organisation keen to support new artists, we just wondered how you feel the industry is for new artists at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
I think the platforming of female and queer artists has increased massively over the last decade. Having had a baby this year, I’m also really excited about groups emerging of mothers in music, exploring how to advocate for and support one another when so much of the industry is way behind on being aware of inclusivity in this area.

And are there any other new artists you’d recommend that we check out?
Marla Kether & Holyseus Fly.

Now that the album’s out, what are you looking forward to in 2024?
My live show at the Bristol Beacon in April, and then festivals in summer. I can’t wait to be playing the album live. I look forward to seeing you at one of the shows!

Ancestry, the debut album from Samantha Lindo, is out now.

January 29, 2024

mariangelicalaneLeave a comment

PLAYLIST: January 2024

The Get In Her Ears team have put together another eclectic mix of post punk anthems, grunge & shoegaze musings, indie & alternative tunes and electronic sounds for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

HAVVK – ‘You Say You Won’t’
Ahead of the release of their upcoming new album in March, GIHE faves HAVVK have shared another spellbinding taste of what’s to come. As front person Julie’s celestial vocals emanate throughout, ‘You Say You Won’t’ showcases the Dublin trio’s ability to create a shimmering immersive grace whilst touching on poignant subject matter. I really can’t wait for them to come and headline for us at The Shacklewell Arms on 28th March, especially as they headlined the first ever gig we hosted back in 2016 – it’s going to be a pretty special evening, with support from Athabaska and Rats-Tails. Grab a ticket here! To Fall Asleep, the upcoming album from HAVVK, is out on 15th March via VETA Records.
(Mari Lane – Managing Editor)

Fraulein – ‘Wait and See’
Unsurprisingly, the GIHE team all love this latest single from Northern Irish/Dutch duo Fräulein. ‘Wait and See’ focuses on the contradictory nature of anxiety, and how we clench our teeth through it, rather than treating the issue underneath it. It’s another seamless blend of the band’s trademark gritty-yet-melodic riffs and considered, hard-hitting beats. I can’t wait to see Fräulein play live at Scala supporting art punks JOHN on 29th Feb.
(Kate Crudgington – Features Editor)

SPRINTS – ‘Heavy’
We’re big fans of SPRINTS here at GIHE, so watching their stellar debut album, Letter To Self, receive so much love and acclaim when it was released at the beginning of this month was a real joy. The Dublin-based band are a formidable force on the stage, and this track in particular showcases their intense, dynamic songwriting talents. (KC)

Gouge Away – ‘Stuck In A Dream’
This angst-ridden anthem from Florida-based five piece Gouge Away has been stuck in my head for an entire month. Visceral vocals, heavy riffs and relentless beats – I’m obsessed. ‘Stuck In A Dream’ is taken from Gouge Away’s upcoming third album, Deep Sage, which is set for release on 15th March via Deathwish. (KC)

The Baby Seals – ‘Mild Misogynist’
Cambridgeshire punk trio The Baby Seals are back, and I could not be happier about it. Following a little hiatus for life stuff, they have now announced the release of their debut full length album and shared a typically catchy, witty and gently raging tune that’ll lodge itself firmly in your ears on first listen. Reflecting on those men we all (sadly) come across on a daily basis who claim to be feminists because they happen to have a wife/daughter/mother, but are actually a huge part of the problem with their damaging micro-aggressions and embedded sexist views, with its gritty energy and danceable hooks, ‘Mild Misogynist’ is the perfect re-introduction to The Baby Seals’ ability to deliver their all-too-necessary message with a fizzing sense of fun. (ML)

Self Torque – ‘No Rest’
I’m so impressed that Brighton-based Self-Torque has managed to transform feelings of desperation and inadequacy into a frenzied, vibrant anthem on ‘No Rest’. Taken from their recent EP, No Rest For The Depressed, it’s a potent reminder that there are always better days on the horizon, and that you are more capable than you think you are. (KC)

Ski Lift – ‘Double Yellow’
Following last year’s catchy ‘Living The Dream’, London trio Ski Lift are back with a stirring new single. With bassist Lizzie Walsh taking the lead on vocals, ‘Double Yellow’ flows with a whirring splendour as lush harmonies intertwine with a sparkling energy. Inviting us all to take a step back and absorb the often overlooked beauty of our surroundings with a lilting warmth, it showcases songwriter Benji Tranter’s ability to turn even the most everyday of situations into genuinely heartfelt, and instantly catchy, indie-pop anthems. (ML)

The Menstrual Cramps – ‘Abortion’
“I’ve had an abortion, no I’ve had two / If you don’t like it, then fuck you!” Straight to the point, as always, Bristol faves The Menstrual Cramps have now shared this raging, honest and utterly necessary pro-choice anthem at a time when we need it more than ever. Written in response to archaic laws being imposed against women who seek abortions, both in the US and here in the UK, the track seethes with a fierce angst, whilst showcasing front person Emilia’s trademark stark wit and ferocious energy. With their return, The Menstrual Cramps continue to create a perfect balance of unifying joy and rage that has never felt more urgent. I can’t wait to hear more of their cathartic, empowering anthems over the next few months. Find out more here. (Also, some welcome slightly positive news regarding abortion in the UK here.) (ML)

pink suits – ‘C.O.F.F.E.E.’
Following last year’s riotous single ‘Refuse The Rules’, total faves pink suits have now shared another taster of their upcoming second album in the form of a new tongue-twisting punk anthem. Although seemingly less politically charged than some of the Margate duo’s previous offerings, ‘C.O.F.F.E.E.’ touches on themes of addiction and exhaustion but with a racing, fun-fuelled energy, oozing the band’s playful charisma. Whilst essentially Lennie and Ray’s soundcheck song, it showcases all there is to love about the immense formidable force that is pink suits. Watch the caffeinated new video for ‘C.O.F.F.E.E.’ here. Dystopian Hellscape, the upcoming second album from pink suits, is set for release on 1st April. (ML)

Dermabrasion – ‘Magic Missile’
Another brooding, ominous cacophony from Toronto-based duo Dermabrasion. The band have just shared their superb debut album, Pain Behaviour, via Hand Drawn Dracula and it is well worth your attention. Industrial-tinged post punk noise: 100% a bit of me. (KC)

GHLOW – ‘Big City’
Stockholm alternative duo GHLOW are back with a brand new album, Levitate, which is set for release on 8th March via PNK SLM. This track, ‘Big City’ is the first exciting, intense glimpse of what listeners can expect from the new record. (KC)

The Fauns – ‘Shake Your Hair’
Following a decade-long hiatus, Bristol based shoegaze ensemble The Fauns have now returned to charm our ears, releasing their new album this month. Showcasing the sweeping ethereal soundscapes that we’ve come to know and love from the band, whilst dipping into newer, electro-driven sounds, the album as a whole oozes a mystical allure as glistening instrumentals provide a backdrop for Alison Garner’s exquisite emotion-rich vocals. I’ve had it on repeat since first hearing it, immersed in its captivating blissful haze. Read about the five songs that have inspired Garner’s vocal style the most here. How Lost, the new album from The Fauns, is out now via Invada. (ML)

Heart Rot – ‘Anchors To Elsa’
Inspired by the quiet-loud dynamics of the ‘90s grunge scene, New York band Heart Rot deliver their ethereal yet gritty creations with a fierce allure. A completely DIY project, the band draw influence from their experience as girls and connection to the natural world in their songwriting, and pride themselves as artists honing their craft; not just in creating their music, but in their merch too, hand-making it all from second-hand clothes. With just two songs out so far, they’re a new favourite for sure; I can’t wait to hear more of their raw, bewitching soundscapes. (ML)

Tusks – ‘Adore’
I love this evocative single from London-based electronic artist Tusks. It’s lifted from her her upcoming album, Gold, which is set for release on 12th April via One Little Independent Records. Inspired by a variety of contrasting experiences and emotions, the album is a dynamic, intricate musing on the shifting nature of love, time and change. I look forward to hearing it in full. (KC)

Fears – ‘4th of the 1st’
I’m so glad that Dublin-born, London-based interdisciplinary artist Constance Keane aka Fears is back! Taken from her upcoming second album, affinity, which is set for release on 22nd March via TULLE, this single ‘4th of the 1st’ delicately dismantles the duplicitous and intrusive thoughts that follow in the aftermath of a complicated breakup. It’s a poignant reflection on emotional resilience and self-soothing. Watch the accompanying video for it here. (KC)

Birthday Problem ft. Ailbhe Reddy – ‘E.L.E’
‘E.L.E’ is the atmospheric debut release from Birthday Problem, a collaborative electronica project between Irish musicians and producers Matt Harris (HAVVK) and Rocky O’Reilly. Released via VETA Records, ‘E.L.E’ – which stands for ‘Extinction Level Event’ – follows the narrative of a fictional character who is in an underground post-apocalyptic world. The track also features vocals from GIHE fave Ailbhe Reddy. (KC)

KÁRYYN – ‘Anthem For Those Who Know’
Marking her first new music release in four years, ‘Anthem For Those Who Know’ is a defiant return to form for Armenian-American songwriter, composer & producer KÁRYYN. It’s a poignant statement about self autonomy and the significance of advocating for yourself and others in the face of adversity. Co-produced with Hudson Mohawke and released via Mute, ‘Anthem For Those Who Know’ is a rumination on the importance of protest in all its forms. (KC)

Schande – ‘Relevant Campaigns’
I can’t seem to stop listening to this song and crying. A thing of pure beauty. Its twinkling grace. The whirring to-ing and fro-ing, like the constant rippling of the tide that keeps going even when everything else seems like it’s stopped. The shimmering hooks that rise and fall. Jen’s whispering vocals fading in and out with an understated melancholy. Written while her mother was terminally ill, it’s an exquisite rumination on the fragility of life and the strength of love. Watch the beautiful accompanying video here, and keep you eyes peeled for Schande’s upcoming new album, Once Around, set for release this year via Thurston Moore’s The Daydream Library Series. (ML)

Moor Mother – ‘Guilty’
Following critical acclaim for her 2021 album Black Encyclopedia Of The Air, innovative artist Camae Ayewa – aka Moor Mother – has now announced the release of her 9th studio album. Our first taste of the album comes in the form of ‘Guilty‘, a collaboration with Lonnie Holley, Mary Lattimore and Raia Was. Oozing a mystical energy, it encapsulates the sentiment of the album – a poignant and necessary message, bringing to our attention crimes committed by our ‘fair isle’. As the glistening musicality provides a backdrop to lists of ‘great’ Britain’s injustices against humanity and the harsh realities of colonialism, the juxtaposition of the horror of ‘Guilty’s message with the beauty of its musicality is stark. A hauntingly beautiful offering; an urgent message encased in an evocative sonic grace. The Great Bailout, the ninth album from Moor Mother, is set for release on 8th March via ANTI-. (ML)

Allison Lorenzen – ‘Words’ (Low Cover)
Taken from the upcoming album, Your Voice Is Not Enough – a tribute to the band Low – Allison Lorenzen’s cover of ‘Words’ made the hairs on the back of my neck stand up when I first listened to it. The album was born from a conversation between Planning For Burial’s Thom Wasluck and record label The Flenser, who were inspired by the “nuanced beauty” of Low’s discography. Whether you’re a fan of Low or not, Allison’s cover and the renditions on the record are well worth your attention. The album features contributions from Midwife, Amulets, Planning for Burial and more. (KC)

Katy Kirby – ‘Hand To Hand’
Flowing with lilting melodies and rich, sumptuous vocals, Brooklyn artist Katy Kirby’s new single reflects on what she calls ‘heteropessimism’ and the gory collapse of several relationships, with a twinkling, yet gritty, allure. The single comes ahead of the release of Kirby’s second album, Blue Raspberry, later this month, which sees her delving into her sexuality and the ways we present ourselves during the quest for love. The album’s out on 26th January via ANTI, and I can’t wait to hear more of Kirby’s beautifully honest creations. (ML)

bedbug – ‘halo on the interstate’
Originally a solo project from non-binary artist Dylan Gamez Citron, LA-based bedbug has now expanded its lineup to include Owen Harrelson, Minerva Rodriguez, Meilyn Huq and Drew Cunningham. Together, the band are preparing to release their fourth album, pack your bags, the sun is growing, on 15th March via Boston’s Disposable America label. This single ‘halo on the interstate’ showcases their fully fleshed out new sound perfectly. (KC)

Grace Petrie – ‘Start Again’
Having been a big fan of Grace Petrie for a number of years now, and being lucky enough to interview her back in 2021, I’m super excited to hear that she’ll be releasing her third album in March. With its chiming piano alongside Petrie’s heartfelt vocals, new single ‘Start Again’ offers a stirring first taste of the album; a rousing ode to the power of solidarity. Building with a gentle emotive spirit, it showcases her ability to create beautifully catchy folk-strewn anthems that ripple with an undercurrent of politically-charged urgency. Build Something Better, the upcoming album from Grace Petrie, is out on 8th March on The Robot Needs Home Collective. (ML)

Waxahatchee ft. MJ Lenderman – ‘Right Back To It’
Kansas based artist Katie Crutchfield aka Waxahatchee’s been one of my most played artists of the last few years – her heartfelt Americana-tinged ballads just get me every time. And latest single ‘Right Back To It’, is no different. Featuring MJ Lenderman on backing vocals, their voices intertwine to create blissful heartfelt harmonies alongside lilting banjo melodies; my favourite combination of sounds. It’s just exquisite and I can’t wait to hear more on the upcoming new album, Tiger’s Blood, set for release on 22nd March via ANTI-. (ML)

January 29, 2024February 1, 2024

Get In Her EarsLeave a comment

INTRODUCING INTERVIEW: Meg Elsier

Today, New England-born and Nashville-based artist Meg Elsier has shared her latest alt-pop anthem ‘forlyleinsanfrancisco’.

The track is a potent blend of all the elements that make her music so exciting and interesting. Fuelled by her direct lyrics and clear vocals, underscored by gritty riffs and energetic beats, and accompanied by a chaotically fun video; ‘forlyleinsanfrancisco’ simultaneously celebrates everything that Meg is, whilst lamenting everything she wishes she could be.

When we meet over Zoom to chat about her new release, she tells me she has been snowed in for three days, which is not normal for residents of Nashville at this time of year. Luckily, she has her cat, Oakley, for company. Meg describes her as “a really sweet girl, but she’s also a killer” as Oakley comedically interrupts our chat at different points. With respect, the same could be said for Meg herself. She is generous with her answers to my questions and earnest about her passion for her art, but she also has a palpable determination and grit when it comes to talking about how it is presented.

Read on to find out more about the alt-pop artist’s early music inspirations, what excites her about her new single, her recommendations from her local music scene in Nashville, and what listeners can expect from her debut album, spittake, which is set for release later this year…

What are your earliest memories of listening to music, or becoming interested in music?

I didn’t really grow up in a musical household. We had a piano that my Mum used to play, but I don’t remember her playing it at all when I was younger. So we had the tools around the house, but nobody did it, besides me, because I wanted to make a lot of noise and be annoying!

Growing up, I went to a lot of Broadway shows, because my Grandma would get us tickets. That was a huge intro [to the idea] of “I wanna dance around with costumes and sing songs. That looks great!” Then it was The Beatles. That was the first record that my parents played and I was like “everything’s different now,” and Queen too. Freddie Mercury was my first crush!

That’s an eclectic range of influences and a great first crush. Your music has been described as “inhabiting the space between folk, indie-pop, and alternative music,” but how would you describe your own sound?

Maybe it’s not the best word [for it], but I consider my music slightly paradoxical. One of my favourite things in music is when you have a really soft element – whether it’s the words that you’re saying, or it’s the voice that’s projecting them – then you just plough through it with this aggression. Because it’s kind of like a facade that people put on. I sing soft, and I like that. But I also love a grungy, gritted out guitar. So I just try to find what feels like me. I like different things and I like combining them. It feels natural to me.

Your new single ‘forlyleinsanfrancisco’, is a great example of this. It’s inspired by a trip you took to visit a friend in San Francisco, and how afterwards, you wished you could “linger in a moment” fully and commit to that feeling. Can you elaborate on that?

I took my time making this song and it is kind of precious to me.

It’s a huge aspect of having this state of mind and being really impulsive, and that being your identity for that moment. So when I’m sad, I am sad – that is who I am. I really identify with it, which maybe isn’t the best thing – which is also [addressed] in the song. But it’s also about the opposite and how fast you can be like “ohhh never mind!” and not committed to being sad at all. It’s the weird push-and-pull of that, and realising or having this feeling in your stomach about how weird it is that something can feel so true in one moment, and then very quickly not be. It’s about that displacement and lack of trust in yourself.

The accompanying video for the single looks like it was a lot of fun to make. Talk us more about the shoot…

It was so fun. It came together in three days, in total, which started with me texting my friend Roberto, who is also the director. We really like hyper-pop DJs, creating projections and digital art. We wanted that kind of thing, but with all of our friends involved. So we texted all of our friends and were like “I’ll have some beers, a bottle of tequila, some snacks and some really good music…”

With this song, when I play it live, all of my friends go crazy and it’s the greatest feeling. You can get moshy for it for kind of no reason and it’s great. So I wanted to bring the energy of the live show to this video, because the other videos we’ve made are so thought out – which I absolutely love – but with this one it was kind of fun to be impulsive and show the energy that we have when we play live.

Your visuals for your previous singles ‘ifshitfuq’ and ‘iznotreal’ are also very cool. Can you tell us a bit more about concepts behind them?

When it came to making my album, spittake, I recorded all of the demos by myself. So I kind of know that world and I really love it.

It was Jacqueline Justice who produced them, and myself and Mary Violet who basically creative directed these videos. It was a world that I’ve never been in before, and it was so stressful, but I loved it, because I loved having people that I trusted with my vision. I trusted their creativity, and also having control over things that you [often] don’t have control over in this industry. I just really wanted to be like “I’m going to be portrayed in a certain way, I want to be in charge of the narrative and what I’m wearing.” These ideas and concepts were great and I had so much fun. I loved doing that.

We shot these videos consecutively, we had no days off in between. ‘iftshitfuq’ was first and ‘iznotreal’ was on day two. We were all absolutely delirious, which is why I find it so funny that the video kind of came out in the way that it did. I was like “how did this come from like, 10 people taking a smoke break and being over-caffeinated?” The editing is amazing.

There are behind the scenes shots of me laying on the ground, with people chain-smoking cigarettes over there, other people chugging coffee being like “I’m gonna go get a vape” – it was the most ridiculous hang out.

It sounds like you had a blast. These tracks will feature on your upcoming debut album, spittake, which is set for release in March. What are you most proud of about this record?

My favourite type of music artist is when you can tell that they’re being totally authentic. Like, even if they did try to hide it, they just couldn’t. That’s the music that I like and the music that I want to make.

This record took a while to make and a while for me to release. There’s something that I learned [in the process] about letting go of things that are precious and trusting in yourself. I took a while to figure out what I wanted to sound like. I wanted to figure out something that felt sustainable to me, that I wasn’t faking. This was the first time that I the sound really felt like me. That’s something that I haven’t had before. So to have this record be different parts of my personality, I’m really proud of that, and that I got to reflect that in it too.

We can’t wait to hear spittake in full!

Finally, as we’re a new music blog, we always ask for recommendations. Who or what are you listening to right now?

The new Oneohtrix Point Never song ‘A Barely Lit Path’ makes me feel amazing. It gets so choppy, I love it. I went to New York for about a week from the end of December to January, and this was just the best walking around, zoning-out-listening-to-music in the city song.

I’ve also made playlists for my friends, and they’re like “I’m so sorry, I can’t listen to that” even though it’s so perfect! Like, one of the songs on these playlists is from Saltburn, – Mason vs Princess Superstar ‘Perfect (Exceeder)’ – I can’t get it out of my head and it’s so embarrassing. It’s such a strut song where you feel cool, but everybody looking at you is thinking “why are you walking like that?”

When it comes to Nashville bands, Snõõper are incredible. They’re so DIY, They make these puppets and their shows are amazing. My friend Wilby is one of my favourite writers and singers too, for sure.

New York and LA are amazing and they have such incredible music scenes there, but Nashville gets overlooked when it comes to the not-country scene. I think the music that isn’t in that genre, because that scene is so much smaller, the community is so supportive and amazing, and the music coming out of it is so different and inspiring. I’m from the East Coast, and I love that, but there is something so special about playing music in a place that isn’t really known for that kind of music. Like, it’s tough, but it’s rewarding for sure.