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 bandcampSpotifyTik Tok, XInstagram & Facebook

Kate Crudgington
kate_getinherears

Photo Credit: Dean Chalkley

WATCH: Roller Derby – ‘Emily’s Dance’

Hamburg-based dream pop duo Roller Derby have released their latest single, Emily’s Dance. This is the fourth single from their much-anticipated debut album, which is set for release early next year. Following performances at Reeperbahn Festival, SXSW, and opening for German band Madsen, the duo have cemented their reputation as a consistent and distinct force in the dream pop genre, earning airplay from Radio X’s John Kennedy and Amazing Radio’s Charlie Ashcroft.

Accompanied by a vibrant and engaging masterpiece of an animated video crafted by Johannes Walenta, ‘Emily’s Dance’ reflects the duo’s signature style: blending dreamy, contemporary influences with nostalgic ’80s vibes. The song opens with luscious synth-driven melodies supported with softly delivered vocals, adding a layer of melancholia and vulnerability; complemented by delicately dreamy guitar riffs. Subtle changes in dynamics and texture keep the song engaging, with swirling melodies, funk-fuelled basslines, and floating guitar licks that dance over the track’s rich layers.

Produced by Moses Schneider, the production feels polished and satisfying, balancing stripped-back verses with expansive choruses, which are marked by thick vocal harmonies, enveloping the listener in a lush warmth.

Lyrically, ‘Emily’s Dance’ is an introspective exploration of time, space, and human connection. The track delves into themes of insignificance and loneliness in this vast universe. Yet it offers a glimmer of hope — that “one day the planets will align” to bring harmony. It reflects a common human struggle, of existentialism and our yearning for meaning and companionship.

With their signature nostalgic sound, Roller Derby continue to captivate and I look forward to what their album has to offer.



When The Night Comes, the upcoming debut album from Roller Derby, is due for release on 28th February 2025. And you can catch the duo live when they’re over in the UK for a small run of live dates in May, including at The Lexington in London on 9th May – tickets and info here.

Ella Patenall
@ella_patenall

ALBUM: BCOS RSNS – ‘BCOS RSNS’

London DIY post-punks BCOS RSNS‘ eponymous debut album is the kind of release that cements a band’s place in a musical landscape just waiting for them to come and take their rightful place at its heart. Every track is clearly drawn from an authentic place, whether it’s a fond memory of a night out or an examination of personal experiences of bigotry. This gives the whole album a sense of vulnerability that makes listening to it feel like you’re in the easy company of friends.

The music is stylistically uncomplicated, with simple rhyme schemes that make it easy to absorb the point of each song. The lyrics are straightforward and accessible, delivering thoughts clearly and frankly. These are set to upbeat rhythms and buoyant guitars that make for a very enjoyable listen. Elements that really shine in every track are the incredibly catchy hooks that bounce around your brain long after the album ends.

The album as a whole showcases a diverse range of musical styles and skills, but the one thing every song has in common is its honesty. Every line comes from such a real place; the songs feel like the band is opening up to you, trusting you with the important things they feel about the world around them. The album carries you along on a rich emotional journey that is intensely personal, yet still relatable. You’re invited to dive into their explorations of everything, from conspiracy theories, to being ghosted, to how they would go about their dream revolution. 

Through the two singles that have been released, we’ve been perfectly introduced to the tone of the album with its direct approach to emotions and generally wholesome vibe. Then as it gets underway, it eases you into deeper territory. The fun rhythms and authentic lyrics give the album such a gentle pace you almost don’t notice how intense the subject matter becomes. BCOS RSNS begins with a love letter to live music, ‘(First On At) The Buffalo Bar’, and continues to pay tribute to the scene simply by contributing the band’s own fantastic new introspective and insightful gems.

BCOS RSNS, the eponymous debut album, is out now. Listen / download on bandcamp now. And keep your eyes peeled for BCOS RSNS on a stage near you!

Kirstie Summers
@ActuallyKurt

ALBUM: Gen and the Degenerates – ‘Anti-Fun Propaganda’

“I don’t want to shy away from the darkness of being a human. But… I don’t want to be fully consumed by it and forget to have fun, be silly…”

Following their raucous 2022 extended play, Only Alive When In Motion, Liverpudlian alt-punk quintet Gen and the Degenerates – featuring singer Genevieve Glynn-Reeves, guitarists Sean Healand Sloan and Jacob Jones, bassist Jay Humphreys, and drummer Evan Reeves – have released their highly anticipated debut record, Anti-Fun Propaganda, via Marshall Records. Recorded and produced by Ross Orton (Arctic Monkeys, Amyl and the Sniffers, Drenge, Gang of Four), the album is a coming-of-age story set at the dawn of the end of the world, comprised of political pop proclamations, queer rock ruminations, and frenetic “fuck the fuck off” attitude.

Opening with the statement: “the truth is, the world is ending,” Gen’s tongue-in-cheek but no less bleak observation sets the mood over pulsating synth and an infectious bassline with ‘Kids Wanna Dance’. Our future is becoming increasingly unpredictable – with volatile politics, economic disruption, and environmental degradation – so why should Gen-Y/Z care? Let the kids dance in their inherited dystopia… We’re desensitized! “The truth is I’m no nihilist / There’s a part of me hoping that we can fix all of this but it’s not looking optimistic is it?”

Featuring Glaswegian punk quartet Uninvited, the feisty ‘Girls!’ takes inspiration from a TikTok trend (Don’t you hate it when girls… no, actually I love it when girls, etc) and transforms societal straight male misogyny into anthemic queer love catharsis. “I love it when they make their own damn money / I’ll be your little bit of sugar, let me call you mummy.” “Uninvited got involved after I tweeted ‘I love it when girls…’ and they replied, ‘Same,’ Gen explains. “I sent them the demo, and they loved it, so I asked them to be on it. It is a product of internet culture,”

Speaking of internet culture, Gen’s sardonic wit on ‘That’s Enough Internet For Today’ is for the always-online dickheads doom-scrolling social media, and sharing hyperbole for likes. “Oh my god, congratulations, you’ve won liberal of the day / You’ve come up with the world’s most progressive take / …and don’t you laugh! / I’m not even started with you / It’s not a fucking party trick to have right-wing views!” For the title track, the Degenerates are no less cynical, ridiculing corporations for making life so fucking boring, rejecting their ‘Anti-Fun Propaganda’ with scuzzy guitar riffs, syncopated basslines, and rumbling beats, inspired by the off-kilter punk energy of Braniac and Parquet Courts.

Following the fuzzed-out grunge of ‘All Figured Out’, Gen takes a moment to breathe, strumming lo-fi acoustic melodies for interlude ‘Plan B’, before the Degenerates return to their genre-bending, escapism-fuelled feedback for satirical, lyrical ‘Famous’ (“First kiss in public they’ll say it was staged / Too perfect not to be a PR move”) and ‘BIG HIT SINGLE’ – a rebellious response to Marshall Records. After Only Alive When In Motion’s ‘Girl God Gun’ became a hit single, the record label requested another tune of similar ilk. Not afraid to demonstrate their pop-sensibility, the Degenerates did just that, with spoken word sass! “If a tree falls in the forest / And no one plays it on the radio / Does it make a sound?” jests Gen. “It’s me winding up our label. Luckily, they have a good sense of humour over at Marshall.”

Taking inspiration from the obtuse, artsy sounds of post-punk-as-fuck NYC, ‘Post-Cool’ is an infectious combination of LCD Soundsystem-esque synth and Sonic Youth distortion. “Started a cult by accident / It was pretty far out / Until a crowd of 18,000 turned up to my house.” Cool is dead! Closing with a emotional tribute to Gen’s late aunt, ‘Jude’s Song’ reflects on mortality, ending with the comforting final lyric: “I don’t really know what happens when we die / But I’m glad that for a while we were alive at the same time.” For Gen and the Degenerates, Anti-Fun Propaganda is their way of making sense of the world; a darkly humorous, yet poignant commentary on the frustrating future of a space rock in disarray.

Follow Gen and the Degenerates on Spotify, X, Facebook, Instagram & TikTok

Photo Credit: Liam Maxwell7

Ken Wynne
@Ken_Wynne