PLAYLIST: February 2026

The Get In Her Ears team have put together another eclectic mix of new music for your listening pleasure. Our February Playlist features riff-heavy anthems, shoegaze & dream-pop tunes, indie and alt-pop bangers, electronic musings and experimental sounds. Scroll through our recommendations below!

In order to best support the female, LGBTQIA+ and non-binary artists that we love here at GIHE, we’ve moved away from using Spotify. We now have an account on TIDAL, so please follow us on there! You’ll also see that we’ve copied all of our previous GIHE playlists over to TIDAL as well. We’ve included YouTube/bandcamp links for all of the tracks below too, so there’s plenty of ways for you to get your new music fix.

You can still access our GIHE profile on Spotify (which we do not have a paid subscription for) but we urge you to use TIDAL, bandcamp or YouTube instead. Happy listening!

CLICK HERE TO LISTEN ON TIDAL

 

The Echograms – ‘Lovesick’
Having played live for us last year at The Cavendish Arms, Margate based Claire Pitt-Wigmore and her band The Echograms deliver swirling ‘bluegaze’ soundscapes with a gritty raw emotion. Taken from their debut EP, ‘Lovesick’ glistens with a fizzing atmospheric allure and fierce riffs, offering an immersive reflection on limerance and the realisation that people often don’t live up to our expectations of them. With its intricate and captivating musicality, this debut signals The Echograms as definite ones to watch.
(Mari Lane – Managing Editor)

VERO – ‘Dead Train’
Another month, another excellent single from Stockholm trio VERO. ‘Dead Train’ is the third track to be lifted from the band’s upcoming second album, Razor Tongue, set for release on 20th March via PNKSLM. Their new record is inspired by their restless, urgent spirit and I think that translates perfectly through their brooding, grunge-inspired riffs and angst-ridden vocals. VERO will be playing a London headline show at The Shacklewell Arms on 26th March. I can’t wait to hear these tracks in the flesh! (Kate Crudgington – Features Editor)

Pixie Cut Rhythm Orchestra – ‘I’ve Been Here Before’
I’ve been a big fan of Dublin’s Pixie Cut Rhythm Orchestra since Irish musician Fears recommended them to us on our Soho Radio show in 2021. I’m thrilled that they’re back with new single ‘I’ve Been Here Before’, which is a gritty reflection on the “performative lifestyles and the instability of modern city living”. As always, Sarah Deegan’s witty and cutting lyricism shines through, thanks to her distinctive vocals and the grinding riffs that underscore them. (KC)

Blackwater Holylight – ‘Bodies’
Having recently released their fourth album, Not Here Not Gone, LA based Blackwater Holylight combine dreamy psych-tinged soundscapes with a fierce power to create a sound that is entirely their own. Taken from the album, latest single ‘Bodies’ showcases the band’s ability to interweave immense, doom-laden soundscapes with an immersive transcendental majesty. Read about some of the albums that inspire drummer Eliese Dorsay the most in our recent Five Favourites feature. (ML)

Kathryn Mohr – ‘Property’
Oakland-based artist Kathryn Mohr is adept at capturing a heavy mood in her music and her latest single ‘Property’ is no exception. Lifted from her upcoming second album, Carve, which is set for release on 17th April via The Flenser, it’s an “amalgamation of dream images and visions” that Kathryn had throughout 2025, drenched in reverb and full of her potent vocals. Her upcoming record is a poignant reflection on love, grief, intimacy and isolation and how these things inform our understanding of ourselves over time. (KC)

Topsy Turvy – ‘Five Guitars’
Galvanized by their frustrations at the behaviour of a male touring musician in their hometown music scene, Vienna-based DIY rock trio Topsy Turvy penned their new album, the excellently titled Fighting the Ginormous Macho Nacho, in righteous retaliation. Set for release on 23rd May via Siluh Records, the album blends their garage-punk, psych-rock influences with upfront lyricism and direct vocals, with single ‘Five Guitars’ perfectly showcasing their new-found anarchic attitude. (KC)

Charley Stone – ‘Forever Your Love’
With February traditionally being a time to celebrate romance, GIHE fave Charley Stone has decided to share a lilting ode to unrequited love. As shimmering hooks fizz alongside Stone’s distinctive honey-sweet vocals and playful tongue-in-cheek lyricism, ‘Forever Your Love’ reflects on feelings of longing from a hopeless romantic for something unattainable. (ML)

Top Shortage – ‘Susan Stryker’
Having become a leading figure in Oxford’s queer community and DIY scene before even officially releasing any music, Top Shortage have now shared their first proper single. Oozing a fierce raw emotion with a driving post-punk energy, ‘Susan Stryker’ draws on an excerpt from transfeminist theorist Susan Stryker’s 1994 essay, My Words to Victor Frankenstein Above the Village of Chamonix, with a striking, impassioned drive. Pushing against the notion of bodies, sex and gender as natural and immutable, the track offers a timely and cathartic anthem calling for trans liberation. Vocalist Noa expands: “Trans people are so often seen as monstrous by a bigoted society – the essay, and this song, reclaims that monstrosity and makes it a rallying cry.’ (ML)

Lemonade Sin – ‘Murmurs and Creaks’
Consisting of members you may recognise from other bands over the years, London-via-Devon quintet Lemonade Sin create catchy slices of indie-pop based around the songwriting partnership of Lee Friese-Greene (Sidi Bou Said, Soup, Short-Haired Domestic) and Simon Aldous (Umbrella Heaven). With the addition of Jennifer Denitto (BCOS RSNS, Linus), Charlotte Beale (Joan, Soup) and Robin Morgan (Umbrella Heaven, Joan) to complete the line-up, they’re now set to release their third album this Spring. Our first taste of the album comes in the form of latest single ‘Murmurs and Creaks’. Inspired by the fictional pairing of Jane Eyre and Edward Rochester, it interweaves motorik rhythms with swirling synth patterns and distinctive vocal harmonies to create a driving, Stereolab-reminiscent indie-pop anthem. (ML)

WIDGET – ‘Chamois Leather’
Following on from their self-titled debut EP in 2024, East London post-punk supergroup (featuring members of Big Joanie, all cats are beautiful, Junodef and Zahra Haji Fath Ali Tehrani) WIDGET have now shared a genre-bending new single. Fusing together funk-fuelled hooks with a fierce groove and Ky’s stark spoken word vocals, the track cements this awesome collective as definite ones to watch, and we cannot wait for them to headline for us at New River Studios on 13th March, with support from Coventry jazz-punk band The Genes and DIY newcomers Lunar Riot. Tickets are on Dice now and as always, they are cheaper in advance – it’s going to be a lot of fun, hope to see you there! (ML)

Gemas – ‘Hola’
This joyful slice of grunge-tinged dream-pop comes courtesy of Costa Rica-based DIY band Gemas. Taken from the band’s recent EP, Miedo a perder (which roughly translates as “Fear Of Losing”), this track ‘Hola’ deftly captures their self-defined “soft but restless, intimate but charged” energy. (KC)

Lauren Auder – ‘Praxis’
I’m still hammering London-based composer and producer Lauren Auder’s track ‘the ripple’ (my favourite from her 2023 debut album, the infinite spine) but I’m ultra pleased to see that she’s back releasing brand new music. ‘Praxis’ is lifted from her upcoming second album, Whole World As Vigil, which is set for release on 27th March via untitled. I love her rich, sensual voice and her innovative layering of synths, vocals and samples here – including the sound of a power drill cutting through metal! (KC)

Miss Grit – ‘Stranger’
This shape-shifting alt-pop tune from New York-based, Korean-American musician Miss Grit is taken from their upcoming new album, Under My Umbrella, which is set for release on 24th April via Mute. ‘Stranger’ is Miss Grit’s attempt to escape feelings of betrayal, underscored by contrasting synth textures, compelling beat changes and their translucent vocals. (KC)

ESYA – ‘Heaven’
I was so happy to see new music from ESYA – the solo project of Ayse Hassan (Savages, Kite Base, 180db) – in my GIHE inbox! This single ‘Heaven’ is lifted from her upcoming debut album, Chasing Desire, which is set for release on 10th April via AOK records. It’s an industrial-tinged soundscape, blending ESYA’s yearning vocals with atmospheric synths and propulsive rhythms. Her previous EP releases were captivating collections of eclectic sound and I expect that her debut full length offering will be equally as impressive. (KC)

TEll A ViSiON – ‘IDLU’
Propelled by terse tribal beats and a fierce driving energy, ‘IDLU’ is the latest single from genre-defying Berlin-based artist TEll A ViSiON. A play on words, with the title being an acronym for ‘I Don’t Like You’, the track offers a visceral statement of empowerment and freedom, emanating a raw emotion and gritty sense of urgency. (ML)

Maria BC – ‘Rare’
Another ambient shoegaze gem from American artist Maria BC here. Taken from their upcoming third album, Marathon, which is set for release on 27th February via Sacred Bones, ‘Rare’ is Maria’s sonic rumination on insomnia and romantic infatuation. “This is a song about being in love with someone who never sleeps,” they comment. “I’m proud of the chaotic arrangement – the skittering percussion, the discordant twang of my ancient zither.” Maria has expanded their sonic palette even further on their upcoming release, and I’m looking forward to listening to it in full. (KC)

Laura Misch – ‘Echoes’
I first became aware of saxophonist and composer Laura Misch when London-based artist afromerm recommended her to us on our Soho Radio show back in 2023. Since then, she has consistently impressed me with all that she’s released, and her latest single ‘Echoes’ is no exception. Described as a “transportive saxophone and voice-led meditation,” the track is lifted from her second album, Lithic, which is set for release on 5th June via iconic label One Little Independent Records. ‘Echoes’ was inspired by Laura’s equally profound reactions to observing both the ancient Paleolithic figurines of the mythic Venus, and the instinctive sense of “wonder” she also felt watching her friend’s baby crawling across the floor. To celebrate the release of her new album, Laura will play her biggest headline show to date at London’s Barbican on 3rd July. (KC)

Lauren Von Bülow – ‘Black Beach’
Inspired by a deep connection to her natural surroundings on the South coast of England, ‘Black Beach’ is the debut single from Hastings-based songwriter Lauren Von Bülow. It’s an atmospheric, emotionally charged offering that sees her blend introspective lyrics with shadowy electronics and brooding vocals. ‘Black Beach’ is also accompanied by a music video that Lauren filmed locally, which you can watch below. (KC)

Monday’s Child – ‘Over Again’
A bittersweet declaration of pure love, ‘Over Again’ is the latest single from Belfast-based band Monday’s Child. It’s their first piece of new music since the release of their debut EP, Modern Affair (2025), full of dramatic fluctuations in rhythm in volume, reflecting the emotional turbulence that underpinned the track’s conception. Speaking about ‘Over Again’, lead vocalist Jen says: “This song was as difficult to write as it is to describe – it is a deeply introspective and personal look at my doubts and fears in the face of a pure love, and trying to decipher whether or not these thoughts are worth paying heed to or are just a normal part of relationships”. (KC)

Misty Coast – ‘Hallucinating’
I love this warm, hazy new track from Norwegian psych-pop duo Misty Coast. Formed of Linn Frøkedal and Richard Myklebust (from noise-rock outfit The Megaphonic Thrift), together they blend soft vocals with breezy synths and riffs to create their melodic musings. “‘Hallucinating’ is about trying to filter out what’s real in a chaos of noise and dopamine factories competing for your attention,” the band explain, “When the unrest and distractions become so overwhelming that you can no longer think your own thoughts, it’s time to hit the brakes.” (KC)

Dayydream – ‘Proximity’
Glasgow-based independent artist Chloe Trappes aka dayydream is gearing up to release her new EP, Trace, on 13th March. The follow up to her 2022 debut Bittersweet, the five track EP traces Chloe’s development as a songwriter and as a young adult, informed by a strong sense of nostalgia. This single ‘Proximity’ is a fitting introduction to her softer sound. Backed by a full band, she articulates sentiments about coming-of-age beautifully. (KC)

Leonor Arnaut – ‘Avé, Raposa’
Following her hypnotic debut single ‘Vida Cega’, Portuguese artist Leonor Arnaut has now returned to grace our ears with a stirring new offering. Made in LA under the mentorship and production assistance of Julia Holter and exploring themes of choice and desire, drawing on the possible symbolism of the fox in Phoebe Waller-Bridge’s series ‘Fleabag’, ‘Avé, Raposa’ ripples with an effervescent swirling majesty as Arnaut’s beautifully rich, celestial vocals soar. An exquisite insight into what to expect from this innovative new artist. (ML)

Montauk Hotel – ‘Never Quiet’
A melodic exploration of sensory overload in a chaotic world, ‘Never Quiet’ is the latest single from Dublin-based band Montauk Hotel. Through their considered lyricism and buoyant dream-pop riffs, the band extrapolate on the feelings of alienation that come from “living in a loud world where technology and political agendas distract from empathy and truth.” Recorded by the band in their home studio and mixed by Ryan McGroarty from Beauty Sleep, ‘Never Quiet’ gently distracts listeners from these overwhelming thoughts. (KC)

Sister Ghost – ‘Not Your Toy’
Having been a big fan of Northern Irish DIY rocker Shannon Delores O’Neill – aka Sister Ghost – for a number of years now, we’re super excited that she’s set to release a brand new EP this Spring. Taken from the EP, recorded in LA alongside producer Brad Wood (Liz Phair, Veruca Salt, Smashing Pumpkins, Placebo) and drummer Jeff Friedl (A Perfect Circle, DEVO), new single ‘Not Your Toy’ offers an empowering ode to survivors of coercive control whilst showcasing O’Neill’s seething, soaring power. Reflecting on the track, she explains: “Whilst it’s sadly very likely to be the case that many listeners will also identify with the subject matter, it’s my sincere hope that by being vocal about it we can help call out these coercive behaviours and reclaim our collective power.” (ML)

No Drama – ‘Doorstep’
This cathartic track from Toulouse-based indie punks No Drama is inspired by the brevity and in-continuity of relationships. It’s taken from their new EP, Isolated Areas, which is set for release on 6th March via Hidden Bay Records. Together, Christèle Gaye (drums), Manon Raupp (guitars, vocals, bass) and Daniel Selig (guitars, vocals) create loud, commanding alt-anthems that help to relieve the pressure of the grind of everyday life. (KC)

 

Shallow Honey – ‘The Bear’
Recently blowing us away with their fierce charisma and playful charm when playing live at The Waiting Room last month, Sussex band Shallow Honey have now released a raging new single. Released as an ‘anti-valentines’ anthem, ‘The Bear’ offers a gritty reflection on those men who became inexplicably furious and defensive over the conversation meant to highlight the safety issues faced by women and girls. An incredibly resonant and necessary subject right now, the track showcases the band’s ability to combine their trademark tongue-in-cheek wit with a ferocious riot grrrl-inspired energy. (ML)

Pondlife – ‘Cello’
Having just announced the release of a new EP later this year, London slacker rockers Pondlife have now shared title track ‘Cello’. Propelled by scuzzy hooks and swirling atmospherics, it’ll draw you in with a wistful allure, offering a hazy insight into the band’s shoegaze tinged soundscapes. (ML)

K Maybe – ‘Skin Hungry’
The latest single from Surrey band K Maybe, ‘Skin Hungry’ reflects on feelings of loneliness and that longing for human touch with a driving, relentless energy. As screaming guitars are juxtaposed with the delicate sense of melancholy that oozes through the lyrics, it offers an instantly catchy slice of stirring alt-rock. (ML)

Frances Murray – ‘Adults’
Essex-born, Brighton-based musician and producer Frances Murray – who used to go by the name BLAB – is back with brand new music! This single ‘Adults’ is taken from her upcoming debut solo album, Dreamer, which she’ll be self-releasing on 10th April. It’s a witty take on her “quarter life crisis” – something anyone over the age of 25 can definitely relate to. (KC)

 

CLICK HERE TO LISTEN ON TIDAL

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Introducing Interview: Pelowska

Having released their poignant debut EP END/START earlier this year, Edinburgh duo Aneshka Pelowska and Dave Tynan – aka PELOWSKA – create stirring, trip-hop inspired soundscapes rooted in experiences of trauma. Ruminating on personal themes of abuse and the feelings of both depression and empowerment that can follow, it offers a beautifully honest and deeply moving collection. As a swirling, brooding emotion ripples alongside glitchy, immersive sonic cacophonies with shades of the likes of Portishead or Massive Attack, it showcases PELOWSKA’s ability to create exquisite sparkling reflections on life’s – all too often tumultuous – journey.

We caught up with Aneshka to talk about the influences behind the EP, the immense power of PELOWSKA’s live shows and the importance of communities lifting each other up. Have a read and make sure you check out END/START wherever you get your new music now.

Hi PELOWSKA! Welcome to Get In Her Ears! How are you doing today?
Great, thanks! Still riding the waves of excitement after our EP launch last month. It’s that surreal high that hits you when something you’ve poured so much heart into finally lands, and lands beautifully. I keep replaying the crowd singing “we are not enough – we are more than enough.” Ohhh yes. Magic.

Are you able to tell us a bit about how you both met, and what initially inspired you to start creating music?
I wrote my first song when I was six — the lyrics were hilariously cheesy (as expected), but the melody… Honestly, I still might use it one day. Growing up in Poland, I fronted a metal band, hitting the high notes and growling the low ones. Over the years I moved through bands across different genres, always searching for the sound that matched the storm that was going on in my soul. The real turning point was for me was learning how to write, record, produce and mix my own music. That opened everything up. PELOWSKA as it is now really came from that lifelong pull to create something emotional and honest – for both Dave and I. We’d been friends for years before we ever made music together, which makes the whole journey feel even more natural and grounded.

I love the fierce trip-hop inspired power and soaring, captivating emotion of your songs, but who would you consider to be your main musical influences? 
Thank you! My roots are in the darker, heavier side of the ‘90s – Nine Inch Nails, Nirvana, Alice in Chains, Type O Negative and so on… When it comes to metal bands, Paradise Lost or After Forever amongst others. These days I soak in lots of music, especially Temples, Phantogram, So Below, Ila Brugal, SBTRKT, Trentemøller and so on… A big fan of Roniit too. If something carries weight, minor-sounding beauty or previously unheard sounds, genre doesn’t matter, I’m in.

You’ve just released your fantastic debut EP END / START – congratulations! It’s said to be a poignant reflection on trauma and connection, but are you able to tell us a bit more about it and the main themes running through the collection?
Everything that had fallen apart before this EP came to life. I escaped a cycle of abuse that left me homeless, lost in trauma, and confronting the raw reality of depression and PTSD. It is the way of dealing with enmeshment, and coming out on the other side. Finding oneself.Fighting for oneself in the midst of manipulation and gaslighting, and the strength in learning to protect one’s boundaries. This work touches on the presence of elements of nature – especially the power of water; fire – that, although potentially dangerous – gave me safety and motivation; and earth, the grounding, beautiful eyes of connection with people who supported me through the pain. Although difficult and tough, that experience was the transformation I needed in order to rip my sense of identity off my past, and find a new meaning and an idea for myself. Redefine what it meant to be me. The elements were the guide on my journey. They gave me strength and brought me back under the wings of the benevolent Universe. Finding myself through nature wasn’t just about calm or serenity in the traditional sense, it was aboutintentionally seeking out and harnessing the elemental forces around me. I felt the overwhelming power of sea and oceans in my veins, fires were burning my soul and shedding the old layers of my identity with painful speed. The earth was full of charged particles travelling through my body and giving me strength and confidence in order to fight for my survival. Nature didn’t just comfort me, it transformed me. It made me into a witch, and became my compass. That transformation echoes through the sound and spirit of the EP. We chose a raw, alternative path – one that steps away from polished perfection and instead embraces struggle, emotion, and human complexity. But just as much, it’s about connection; connection to the listener on the other end, someone who might need music that purges, that purifies, that empowers. Tracks to accompany your anger, your courage, your healing, and to help you reconnect with nature, and in turn, with yourself. This EP is a document of survival, and transformation. A journey through chaos, and a homecoming to oneself. May it help you move through your own fire, and come out stronger on the other side.

And how was the process of recording the EP for you? 
Cathartic. Screaming into a mic alone late at night. Recording an idea for ‘Venom’ straight into the project on my laptop on a plane to Turkey. Jamming new melodies straight into the tracks we worked on with Dave: I looped ‘You Said It’s Gone’ once he sent it over to me and simply stepped up to the mic, feeling into the music and going with the flow. ‘Calton Hill’ literally started as a phone recording of me playing around on a wee Juno synth in the countryside in the Scottish Borders one afternoon. That exact phone clip is still in the song, layered with other sounds I grabbed from lakes and forests in Poland in summer 2024. It was all about following intuition without overthinking for me. Letting feelings become sound… All that until it came to the mixing process in which we got really technical and did our best to fine-tune the mixes, training our ears and learning heaps in the meantime.

You recently played a special launch show at Leith Cricket Club – how was that for you, and what can fans expect from your live shows? 
It was electric, such a beautiful experience. Every headline show we’ve played so far was particularly full of love, but this one has been our best yet, and this is just the beginning! You ask what to expect in our shows? Raw energy, a bit of headbanging, emotional whiplash in the best way, and the occasional pep talk slipped between tracks. We like switching between soft vulnerability and big, feral power. Vocals are my joy so I go all in. Lately I’ve been having a blast playing synth and messing with its sounds in real time – you can never get it the exact same way twice and I love that! Dave’s guitar/bass brings both heaviness and melody in equal measures. His sense of humour is amazing – during one of the shows this year he spilled a whole pint of beer on his laptop, and didn’t even flinch upon noticing whilst people from the crowd rushed to help (that laptop is still fine, which I read as a clear sign from the Universe that we have its blessing to carry on!)

And has there been a specific show you’ve played that stands out as a highlight? 
Every show has its own flavour, so it’s hard to choose just one — especially when the most recent one is still buzzing in my body. But a real ‘pinch me’ moment was opening for the legendary Polish rock band Lady Pank. I grew up watching them as a kid, never imagining I’d one day be sharing a stage with them so it was a full-circle moment.

When you’re playing gigs are there any particular essentials that you like to have with you to keep you going?
Water and coffee – probably in the reverse order. Also recently I purchased my own smoke / haze machine for gigs so I’ve been having a lot of fun with that! I literally bring my own atmosphere to events.

Originally being from Poland, how would you say the music scene, and the experience of playing live music, differs here in the UK? 
On the mainland, being a musician often carries this sense of doing something almost magical – there’s a particular atmosphere at gigs, a kind of intensity and emotional involvement from the crowd that’s hard to describe unless you’ve lived it. In the UK, people approach music in a slightly different way – more technical, craft-focused. Audiences here really listen; they pay attention to your sound, your gear, precision. Both scenes have their strengths, and playing in both definitely shaped me.

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?
Honestly, I’m not feeling particularly great about the state of the world and/or creative arts at this point in time. It’s quite hard to say something positive when I see so many people having it so damn hard. It’s tough out there. I’m grateful to know some truly badass female and queer music producers, engineers, and songwriters though. The sense of community is strong – we look out for each other, we lift each other up, and that gives me hope. There’s more and more of us, and I hope this trend continues. There’s progress, but also a long road ahead. I really hope the industry starts acting like it understands that.

And are there any other new bands or artists that you’d recommend we check out at the moment?
Her Picture are a cool Scottish band, music in the vein of Ethel Cain – my ears have heard ‘Muscle Memory’ plenty of times. Still Blank just released a brilliant self-titled album last month. And Mastaki is a producer who imho deserves far more attention.

Huge thanks to PELOWSKA for answering our questions!

You can listen to the poignant new EP END/START now and watch the video for recent single ‘Calton Hill’ here.

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Five Favourites – Blackwater Holylight

Having recently released their fourth album, Not Here Not Gone, LA based Blackwater Holylight combine dreamy psych-tinged soundscapes with a fierce power to create a sound that is entirely their own. As the glistening, woozy allure of Allison Faris’ delicate vocals ripples throughout, dirge-like hooks and propulsive beats reveal the band’s eclectic influences, showcasing their ability to interweave immense, doom-laden soundscapes with an immersive transcendental majesty.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with drummer Eliese Dorsay to ask about her “Five Favourites” and she’s picked five albums that have influenced her distinctive drumming style over the years. Check out her choices below, scroll down to listen to Blackwater Holylight’s latest single ‘Bodies‘, and make sure you check out the entire exquisite album too…

Uffomamut – Idolum
Uffomammut is a stoner doom band from Italy. I was fifteen, making art in my basement bedroom when this album popped on as a YouTube suggestion. As soon as I heard the first couple notes, I immediately perked up. I was listening to heavy metal at the time, but nothing quite like this. I noticed the drumming and thought “Oh man, I want to do THAT!”. This is the album that lead to me finding Sleep and Electric Wizard. Doom metal quickly invaded my life in the best way. When I finally started playing drums at seventeen, the first song on this album was the first beat I learned. From there I played along to the rest of the Uffomammut discography. Without them I would not play the way I do. 

Russian Circles – Geneva
This album is important to me because I learned a lot about dynamics by listening to it. Russian Circles’ songs are really cinematic and have a lot of movement. It’s what taught me how to build; starting with a minimal beat and slowly adding parts, moving around the kit to build intensity. This band in general definitely opened up my creativity on the drums – they know how to complement each other instrumentally, and take turns being the star.

Def Leppard – High ‘n’ Dry
Some of my favourite drumming ever is just simple straight forward Big Heavy Hitting. I found this album when I was twenty one and realised that’s the same age that drummer Rick Allen was when he lost his arm. By this point drums were becoming more than just a hobby for me; I was realising that I want to do this for the rest of my life. The thought of not being to play anymore for any reason is terrifying. Rick Allen’s story of determination and love for the drums is beyond inspiring. 

Inter Arma – Paradise Gallows
Although I can’t currently play in this style, it’s massively inspiring. The blast beat speeds are legendary, and they’re one of my favourite bands to watch live. They have a unique way of combining all the sub-genres of metal into one project. Not just the drummer, but the band as whole is incredibly talented and versatile. They’ve taught me that you don’t need to limit yourself to one style or genre. 

Bison B.C. – Quiet Earth
This is another album that I love for their unique style of combining different metal genres. They’re thrashier than just standard doom metal. I used to listen to this album on repeat getting ready for school in the morning. When I started playing drums I thought I could play along to it because I knew it all by heart, but it was much more difficult than I thought!! This album continues to push me – I’m still trying to learn little parts of it all the time. The only song I can mostly nail is ‘These Are my Dress Clothes’. Maybe someday I’ll be able to play the album all the way through. 

Huge thanks to Eliese for sharing her choices with us! Listen to Blackwater Holylight’s latest single ‘Bodies’ below, and make sure you check out their exquisite album, Not Here Not Gone, in its entirety too!

mariangelicalaneLeave a comment

INTERVIEW: Daffo

The songwriting project of Brooklyn-based, Philly-raised Gabi Gamberg, Daffo‘s debut album Where The Earth Bends was a definite highlight of 2025 for me, and it’s still pretty much on repeat since its release in September. Interweaving a scuzzy indie-pop musicality with a searing raw emotion and glistening heartfelt grace, it’s a deeply personal and beautifully resonant collection that showcases Gamberg’s unique gift for writing songs that really do feel like they reach out and gently caress how you’re feeling.

Since the album’s release, Gamberg has been relentlessly touring both Europe and the US, and only now just seems to be winding down. We were lucky enough to catch up with them to talk about the album, the DIY music community, Capitalism, pillow cases and more. Have a read, make sure you check out the exquisite sounds of of Where The Earth Bends (if – for some reason – you’ve missed it / been under a rock for the last six months), and also watch / listen to their poignant cover of Arthur Russell’s ‘I Couldn’t Say It To Your Face‘ which they shared earlier this month.

Hi Gabi! Welcome to Get In Her Ears! How are you doing today?
Good! I’m glad to have have a day off of tour finally – I got to sleep my usual 12 hours, lol. 

Are you able to tell us a bit about what initially inspired you to start creating music?
I guess it was always in me. Maybe always around me. So, I was always drawn to it. Plus my parents said I had to take music lessons when I was like 6!

I love the raw stirring emotion and scuzzy musicality of your songs, but who would you consider to be your main musical influences?
Probably Elliott Smith is the big one. I also feel like Frankie Cosmos and Alex G were big ones for me.

Your debut album Where The Earth Bends came out last year –  it really is a beautiful collection from start to finish (and was one of our ‘Albums Of 2025’), big congratulations! It’s said to deal with emotions ranging from rage and shame, to self-acceptance and resolve – are you able to tell us a bit more about this and how your experiences inspired your writing?
Well, my writing has always been an outlet for me, so when I experience big emotions I usually feel like writing about them in order to process them fully. And that ultimately led to the songs on my record. 

And – tricky question (sorry!) –  do you have a favourite track on the album? (I think mine might be ‘Carrot Fingers’, though I love them all)
‘Carrot Fingers’ is definitely one of my favourites as well. But I think, right now, my favourite is still ‘Sideways’ – I just love the way it turned out and the song means a lot to me. 

How would you say the process of recording the album has differed from your previous releases?
I think I took more time making the songs – I was more intentional with everything. 

From a young age, it seems like you’ve been really involved in the DIY music community where you’ve lived, which is something close to our hearts at Get In Her Ears. Why do you think these close knit communities are so important for artists? And how has being a part of one helped you personally?
It really allows you the space to explore and grow as an artist. The art world can be a very competitive place, and the DIY scene really is very welcoming to everyone, so you have the space to mess up and learn.

We were lucky enough to catch you live at The Great Escape in Brighton earlier this year – such a great show! How was this experience for you? And how was your recent trip to the UK last month?
Festivals can be hard! You don’t have a sound check and it all goes by very quick. But you get to play to a diverse fan base, which is a great opportunity and ultimately very fun. The UK was great! I had good beer for the first time in my life.

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 always need to have my own pillow case to keep me safe from all the detergent I’m allergic to, lol. Other than that, as long as I have some sort of simple snack like corn chips or carrots I’m good. 

Has there been a specific show you’ve played over the years that stands out as a particular highlight?
I think the release show I did at someone’s apartment was the best. It was packed out and the first time I’ve had people sing my lyrics with me. 

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?
Well, Capitalism is rooted in racism and sexism. We live in a Capitalist society, so you tell me. Can we really have a capitalist music industry where we are all treated with the same respect…? Most artists don’t even earn a fraction of what we are owed. I don’t know, this is a very hard question, I could write a whole essay (but I won’t because i hate writing essays!). 

And are there any other bands or artists that you’d recommend we check out at the moment?
I’ve been loving earth 2 tiffany recently. I also love Superfan and Shmoo.

Huge thanks to Gabi for answering our questions! We can’t wait to hear more from them soon, and for now you can listen to Where The Earth Bends on repeat (like I do), and watch the new video for their poignant cover of Arthur Russell’s ‘I Couldn’t Say It To Your Face‘.

Photo Credit: Sam Penn

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