INTERVIEW: Aisha Badru

Having released her debut album back in 2018, Nigerian-American artist Aisha Badru has since been reflecting on themes of love, loss and personal growth in her sparkling alt-folk offerings with a distinctive effervescent grace. Now, with the release of her brand new album, The Sun Still Rises, her hope is to combine these personal reflections with more of a collective awareness. To reach people through her beautifully stirring creations; to soothe emotions and offer a cathartic accompaniment to her listeners’ self-care routine.

Following the release of her exquisite new album, we caught up with Aisha to discuss the release, the inspirations behind it, and her own personal practice of self-care and wellness. Have a read, and make sure you have a listen to The Sun Still Rises now!

Hi Aisha! Welcome to Get In Her Ears! How are you doing today?
I’m doing well, thank you! I recently made a big move from Florida to Massachusetts. While I loved my time in Florida, I’m excited to experience the seasons again. I’m originally from New York, so it feels like a return to my roots in some ways.

Are you able to tell us a bit about what initially inspired you to start creating music?
In the early stages of my career, heartbreak was my main motivator for creating music. Writing became a way for me to cope and prove to myself that I was worthy. At 25, I found myself at a pivotal crossroads in my life. On the one hand, I was pursuing a relationship with someone who was emotionally unavailable, and on the other, my music was starting to gain traction. I realised I had to choose between the two, and ultimately, I walked away from the relationship to focus on my music. That relationship was really hard for me to let go of because it symbolised letting go of my old self who had low self-esteem. With that said, the unfolding of my music career has always been a spiritual journey for me — a way to discover my worth, while also reminding my listeners of theirs.

I love the lilting energy and sparkling emotion of your songs, but who would you consider to be your main musical influences?
It’s always a bit tricky for me to pin-point specific influences because I’ve listened to such a wide range of music over the years. But I’d say my earlier work was heavily influenced by folk and acoustic music, especially for how they convey emotion and tell stories in such a raw and intimate way. More recently, I’ve been increasingly inspired by artists and groups that use their music to explore themes of collective healing, resilience, and community. For example, I admire the work of the vocal collective Beautiful Chorus, who create music that fosters peace and connection, and Rising Appalachia, whose songs tell powerful stories of resilience and social consciousness. Ultimately, I’m inspired by music that speaks to the heart and encourages emotional growth as well as planetary healing.

You’ve just released your second album The Sun Still Rises, which is super exciting! I’ve been told that you’d like your music to be “soothing and medicinal” – are you able to tell us a bit more about this and any themes running throughout the album?
With my music, my intention is to offer both consolation and encouragement, especially during times of self-doubt or emotional struggle. Throughout the album, I’ve focused on themes of hope and renewal. It’s about finding peace amidst the chaos and remembering that, even in our darkest moments, there’s always a path forward.

And how would you say the process of recording the album has differed from your previous releases? 
The process of recording The Sun Still Rises was different in that I was much more focused on creating an album with a clear intention around mental health. While my previous releases were also purposeful, this album felt more deliberate in terms of the themes I wanted to explore.  

The theme of wellness and self-care seems to be very important to you. What are the key ways you practise this in your own day-to-day life?
I practice wellness in my day-to-day life by being mindful of how what I consume affects my wellbeing – whether it’s food, social media, music, news, etc. I make adjustments as needed to ensure I’m absorbing things that nurture me and promote a sense of inner peace, clarity, and empowerment. Another essential practice is limiting my time on my phone, which has been really grounding and helps me be more present.

And how would you say this feeds into your songwriting?
My songs are deeply influenced by how I practice self-care in my own life. I strive to create music that uplifts, drawing on the messages and lessons that have guided me along my journey. By prioritising my own wellbeing, I’m able to channel that positive energy and wisdom into my music.

It seems like you’re very busy at the moment – with being a songwriter and a mother of twins -, but are you planning on touring the album at any point soon?
While I’m not planning a traditional tour, I do want to focus on more intimate, curated performances that align with the themes of wellness and connection. This past summer, I had the opportunity to perform at the wellness festival Mycelium, and it was such a meaningful experience. It reinforced my desire to create spaces where music and mindfulness intersect.

And when you’re out on tour, or playing shows, are there any particular essentials that you like to have with you to keep you going?
Water! So many times I forget to hydrate sufficiently, especially when I’m tired and rather reach for coffee.  

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
I don’t think the overall mainstream industry has changed much, but marginalised artists are gaining more power by moving away from established systems and finding new ways to connect directly with their communities. For example, social media and independent platforms give artists the ability to build their following and engage with fans without relying on traditional gatekeepers. From my perspective, this decentralisation is important, as it allows greater autonomy and economic freedom.

And are there any other new artists that you’d recommend we check out at the moment? 
She’s not necessarily a new artist, as she’s already accomplished a lot in her career, but I highly recommend checking out Alysha Brilla. Her message of empowerment and healing really resonates with me. She has a unique sound that spans multiple genres and is always pushing boundaries with her art.

Huge thanks to Aisha Badru for speaking to us!


The Sun Still Rises, the new album from Aisha Badru, is out now via Nettwerk. Download / buy here.

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Five Favourites: Fightmilk


We make no secret of our super fandom of Fightmilk here at Get In Her Ears. We’ve been following them since they first played live for us back in 2018, and now – after having had the honour of them headlining many more of our gigs, and being obsessed with their albums Not With That Attitude and Contender, our fandom has only continued to grow with the recent release of their new album No Souvenirs. Reflecting on themes of getting older, particularly as a woman in music, the album exquisitely showcases Fightmilk’s ability to hone their sound, creating perfect punk-pop; angsty and uplifting in equal measure. Instantly catchy singalong anthems, combining the band’s trademark tongue-in-cheek wit with a swirling energy and gritty raw emotion. From fuzzy sentimentality to fierce tirades against patriarchal society, No Souvenirs is a perfect culmination of how Fightmilk have continued to refine their sound. With shades of noughties punk-pop, combined with an injection of fresh queer joy and raging emotion, it’s at once cathartic, validating and empowering. But, most importantly, fun. A sound that’s uniquely Fightmilk; truly distinctive in its colourful charisma, but consistently evolving into something more. 

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 No Souvenirs, we caught up with Lily, Nick, Alex and Healey to find out about the five albums that inspired the writing of the new album the most. Read about their five favourites, listen to the No Souvenirs on repeat, get tickets to see them live and watch the wonderfully DIY new video for latest single ‘Yearning and Pining‘ below:

Band pick:

Jimmy Eat World – Bleed American
We all collectively, coincidentally, fell back in love with this album HARD at around the same time. It’s such a perfect cocktail of anger, positivity, self-reflection and FUN. It’s obviously also catchy as hell. The timing of our obsession coincided with Lily sending us a demo of the song ‘No Souvenirs’, which we definitely made a conscious effort of melding into something that could sit alongside those J.E.W songs. By the time we’d recorded the title track, we even learned ‘A Praise Chorus’ for a couple of shows in 2023, though damned if we can remember how to play it now.

Lily:

Olivia Rodrigo – Sour / GUTS
My name is Lily and I’m a sucker for a Gen-Z Disney star. Olivia Rodrigo’s songwriting is phenomenal. She is so self-aware, so funny, and so brutally (ha) honest – a lot of comparable artists who write music on themes of anxiety and awkwardness feel focus-grouped to death by people who haven’t been teenagers for a long time, or they bottle a feeling at the last minute and turn it into self-deprecation, but her songs feel like they’ve come straight from her diary. Lines like “I hope you’re happy, but don’t be happier” are such an economical, Ronseal way of articulating such a big, messy feeling – it’s such a skill to reduce all those complex emotions into one line. It’s very much the Kirsty MacColl/Alanis Morrissette school of ‘stuff I wish I’d said’. Sour was my big album for No Souvenirs, but I’m so glad we got GUTS halfway through recording too. I wrote ‘Summer Bodies’ before I’d heard ‘Pretty Isn’t Pretty’, which is one of my favourite songs on GUTS, and felt so much that it was written with the same exhaustion. I felt very seen: “I could change up my body and change up my face/I could try every lipstick in every shade”. I also love that during a time where guitar music is incredibly uncool, Olivia Rodrigo has released two big grungy rock albums. We have so much in common…


Nick:

Press Club – Late Teens
I absolutely love everything about this album. The aggression, speed & ferocity of it; the blown out vocals and the sparing way it was recorded, which is really no frills and designed to capture the rawness of a live show (I read somewhere that Nat does her vocals in the booth DURING the instrument takes, which is insane to me), and of course Frank’s drumming, which is fast and nuanced without being overtly flashy. There’s always a danger in this genre that you’re going to over-complicate stuff and have one instrument’s role overshadow the others, but the balance is right on this, and it was a wake up call to keep things simple – both in terms of our individual roles, and production, with No Souvenirs.


Alex:

Eiko Ishibashi – Drive My Car (Original Soundtrack)
The words and music on No Souvenirs are as accurate as you can get to the constant screaming static in our heads, as the four of us left the lockdown era, and tried to remember how to exist in the world, let alone be a band again. In the face of that chaos, the delicate arrangements and kinetic calm of Eiko Ishibashi’s Drive My Car score were my actual soundtrack to the period – a 45 minute gap in time where I could shut out the outside world and pretend it wasn’t going to come roaring back at me once the album finished. If you can’t hear that influence on our record, fair enough! But I’d be lying if I said it didn’t find a way in there somewhere.


Healey:

Lucy Dacus – Home Video
The early summer of 2021 was a super strange time, we were coming out of lockdown and all COVID restrictions were being removed but everything still felt scary and weird. Like Lucy Dacus we’d just put out an album, but we had no way of touring it yet and had sat on the songs for longer than expected. I went for lots of contemplative walks by myself round Peckham and I’d mainly just listen to Home Video and voice note demos Lily had sent to the band group chat. I got obsessed with this one early demo called ‘Swimming Pool’ – it’s a quiet song with just an acoustic guitar and double tracked vocals. It’s sparse, vulnerable and reflective. It caused the same gut reaction I get when I listen to Dacus’ music, a homesick nostalgic pang mixed with a dose of teenage embarrassment. While the title and some of its lyrics have changed, the core emotion is still there and I think Home Video was a huge influence on letting that track gently build to an eruption of fireworks at the end.


Massive thanks to Lily, Nick, Alex and Healey for sharing their favourite album choices with us! Watch the gloriously DIY video for ‘Yearning and Pining’ here:


No Souvenirs, the new album from Fightmilk, is out now via Fika Recordings and INH Records. They’re currently out on tour – very limited tickets left, but you may be able to find some here.

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Introducing Interview: Breymer

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

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

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

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

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

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

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

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

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

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

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

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

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

Huge thanks to Breymer for answering our questions!


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

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

Photo Credit: Simone Thompson

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INTERVIEW: Scrunchies

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Photo Credit: Darin Kamnetz

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