Video Premiere: The Dead Zoo – ‘Bruise’

Having wowed us all with their fiercely joyous energy headlining a packed out album launch show at New River Studios a couple of weeks back, London post-punk faves The Dead Zoo are now sharing a brand new video ahead of their debut album’s release on 25th July.

Showcasing The Dead Zoo’s ability to create immersive, brooding soundscapes, ‘Bruise‘ reflects on both the pain and triumph of transformation. Combining swirling atmospherics with ’80s-inspired dark basslines, the sonic equivalent of a nocturnal drive through a Lynchian landscape is created; a mood which is perfectly visualised through the cinematic splendour of this new video. As the resonant gritty power of front woman Kaoru Sato’s vocals glisten throughout, ‘Bruise’ offers a pulsating, multi-layered soundscape that will captivate the senses on first listen.

The new video for ‘Bruise’, directed by Stacy Picard, is out now – let yourself be swallowed up by its raw shimmering majesty.


‘Bruise’ is the first single to be taken from The Dead Zoo’s upcoming debut album, Suspects. Three years in the making, Suspects refracts listeners through the intangible prisms of introspection, reflection, self-discovery and hope. With this latest release, The Dead Zoo harness all the post-punk verve, rousing guitar noise and queer dreamy energy that you could ever desire. The album was recorded with producer James Aparicio (Grinderman, Spiritualized, Depeche Mode, Throw Down Bones). 


Suspects is set for release on 25th July, pre-order here. And you can catch The Dead Zoo live on 26th July at the Trans Pride After Party at Walthamstow Trades Hall – tickets here.



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INTERVIEW: Eilis Frawley

Having been big fans of all Berlin-based musician and songwriter Eilis Frawley does for a number of years now, we were excited to welcome the release of her debut album Fall Forward earlier this year. An eclectic collection of striking compositions focused on topics ranging from sexism and feelings of displacement, to personal reflections on self care and nostalgia, it showcases Frawley’s resonant lyricism and immense percussion skills, with a sparkling, empowering energy.

Following the album release, and ahead of Frawley’s UK tour which starts tonight at Brighton’s Rossi Bar and ends on Sunday 1st June here in London at Shacklewell Arms, we caught up with her about her inspirations behind the album, her thoughts on the music industry and her top tour tips. Have a read below, and make sure you catch her live over the next few days!

Hi Eilis! Welcome to Get In Her Ears! Are you able to tell us a bit about what initially inspired you to start creating music? 
Hey Mari! It’s always a pleasure to connect with GIHE! I started playing violin at a very young age, and towards the end of high school I turned to percussion and got very involved with the music department; it was like a family for weirdos and I loved it, it was such a supportive place to practice and learn and develop musicality. I started out in classical music and was always drawn to the row of people standing at the back of the orchestra, often not doing so much, but when they played, it felt like those few people could change an entire mood in seconds – I was totally mesmerised. I didn’t start playing drum kit properly until I moved to South Korea after my university studies – there I met the most impressive absolutely no-bullshit female musicians, we formed a band and quickly I became obsessed with song writing, playing drum kit and creating original music. 

We love your beautifully striking, genre-defying sounds and the empowering energy that shines through in your unique songs and percussion-focused musicality, but who would you consider to be your main musical influences?
Aw, thank you! Someone who has stuck with me for a long time is Tune-Yards – I love the upbeat, very energetic chaos they create whilst diving into some heavy topics. Otherwise, I’m a big fan of Ghostpoet, and lately the Moor Mother/Sumac album, and also the Julien Baker/Torres album have been on regular repeat. 

I’ve been really enjoying listening to your recently released incredible and poignant new album, Fall Forward! The album reflects on themes ranging from misogyny and inequality, to personal feelings of grief and mental health struggles – are you able to tell us a bit more about this and what inspired your songwriting?
I wrote a lot of these lyrics during the pandemic; I’m originally from Australia (currently living in Berlin), and the borders were closed – for the first time in my life it wasn’t possible to go home, and this was very alienating. I spent a lot of time thinking about the past, and how I want the future to look. It’s personal, but I think the feeling of being misplaced is not uncommon to most people. Living in a big metropol it can be lonely, it can be exhausting, it can be misogynistic daily; these songs were a chance to build my own world to get some of these feelings out. 

You’ve described your sound as a “translation of my life into music” – can you explain this and tell us more about your songwriting and recording process? 
I write lyrics one sentence at a time, often in the notes on my phone whilst on the bus or train or having a coffee, then after some time I combine lyrics of similar themes and see where to go from there – it’s a collage of my experiences and thoughts. Musically, I often have an idea – maybe a drum beat or bass line that the song grows from – and maybe a rough idea of how I want the vocals to fit, and from there its trial and error, building different layers to support the vocals and vice versa. 

Having been involved in the industry for a number of years – both as an artist, and as a teacher and facilitator – how would you say your attitude towards creating music has changed? 
The one thing that’s remained the same throughout all these years is that there is never enough time to actually create music – for me it doesn’t just happen, time needs to really be carved out and dedicated to writing. The more I’ve gotten involved in the music scene, the more I think it sucks! I think as an artist you’re expected to do so much more now, create new music constantly – be a content creator, pay for PR, tour constantly, pay up front for your own records/merch, it’s rough. But I’m very much looking forward to spending a summer in Berlin, swimming in the mornings and writing songs in the afternoons – this feels like a reward to myself after the release of Fall Forward and three months of pretty much constant touring.  

We’re really excited to see your live show at The Shacklewell Arms on 1st June, with your new full band! What can we expect from the show, and what do you like most about performing live? 
I’m so happy to be taking this album to The UK, especially as I’ll be joined with my new live band – I think you’ll agree they are incredible! You can expect a slightly heavier version from the record, but still with these moments of sensitivity and pop throughout. Both my bandmates sing like angels, so thats a pretty fantastic new addition, and there will also be live projections. I really enjoy the moments the songs transform to a live version, moments where structures get stretched; where we are really playing together, giving the songs a new life. No night is the same, and that feels exiting. 

Is there a specific gig you’ve played over the years that stands out as a particular highlight for you? 
Ohhh, thats a hard question! The first one that comes to mind was in March we played in Giessen, a small Germany city. It wasn’t too crowded, maybe forty people, but every single person was really there for it – dancing, cheering – and we had some great after show chats. 

And, when you’re out on tour, are there any particular essentials that you take with you to keep you going? These are my Top three tour tips: I always pack lavender perfume pouches in my luggage so my clothes always smell like lavender, not tour bag. I try and run every second morning, to get some alone time and stretch out after sitting in a van so much. I pack a t-shirt to wear only on the very last day so I return home feeling fresh.

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? 
Personally, I feel like we’ve taken a step back. I feel like in the DIY communities and collectives there’s a lot of space for Female* and LGBTQIA* artists, however as soon as there’s money involved, it feels like it’s still very much male dominated. I’m working in a venue and there’s still significantly more men on stage, as well as promoters and concert goers – I find it exhausting. As a queer female musician, however, I do think the interactions I have at gigs have improved – there’s a lot less comments like “Oh wow, you play the drums” than I received ten years ago. That’s some progress!

And are there any other artists that you’re enjoying listening to at the moment that you’d recommend that we check out? 
Two collaboration albums I’ve been loving are The Film by Sumac and Moor Mother and Send a Prayer My Way by Julien Baker & Torres. From Berlin check out Anti-Corpos, Lucy Kruger & The Lost Boys, Plattenbau, 13YC, LawnChair, Matching Outfits, Crowbaby, Okra.

Finally, aside from the very exciting upcoming UK shows, what does the rest of 2025 have in store for you? 
We’re playing a few festivals over the summer, and then I’d like to spend the rest of the year writing new music. After almost three months of touring I’m excited to be home, cook my own food, sleep in my own bed and get some of these song ideas out of head and into reality.

Huge thanks to Eilis for answering our questions! Make sure you check out Fall Forward now, and catch Eilis Frawley live in a town near you this week – we’re excited to have her play at the Shacklewell Arms this Sunday 1st June, along with lo-fi faves all cats are beautiful. Free entry, but RSVP on Dice now to avoid disappointment!

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LISTEN: Nastazia Bazil – ‘Call Me Habibi’

Lebanon-born, London-based artist Nastazia Bazil never imagined she’d make music that others would want to hear – let alone be releasing an album. But, after forming a band through First Timers Fest (a festival giving new musicians the chance to start a band) a few years ago, she’s done exactly that. Her debut album, From Beirut To Anywhere, will be released next month, marking a powerful milestone in her journey as a musician.

Since her start, Bazil has already shared stages with fast-rising bands like Mary In The Junkyard and Vanity Fairy, building a reputation for her emotionally raw and sonically distinct performances. Her sound leans heavily into moody, ‘80s-inspired synthscapes – drawing comparisons to the likes of Kraftwerk and more contemporary artists like St Vincent, layered with unsettling textures and steady, minimalistic electronic drum beats. These brooding instrumentals are paired with close-mic’d vocals that add an intimate tone to her work.

Bazil’s DIY approach is central to her aesthetic. Rather than opting for polished studio perfection, her recordings retain a sense of authenticity and vulnerability that resonate deeply. It’s this honesty – both sonically and lyrically – that sets her apart.

Her latest single, Call Me Habibi, offers a poignant glimpse into the emotional landscape that defines her debut album. The track reflects on her experience as part of the Lebanese diaspora, grappling with the heartache of being unable to return to her home country due to political unrest, while still yearning for familiar comforts, like home-cooked food. The result is a stirring, deeply personal anthem of displacement and longing.

Nastazia’s debut album, From Beirut To Anywhere, is set for release on 5th June; a bold debut that captures the ache of exile with haunting textured melancholy. Keep an eye out for it on bandcamp!

Ella Patenall
@ellapatenall

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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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