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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PLAYLIST: September 2024

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

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

Lambrini Girls – ‘Company Culture’
A track about being under appreciated, sexually harrassed and never able to win in the workplace as a woman or queer person, ‘Company Culture’ is another seething offering from punks on the rise Lambrini Girls. Following raging singles ‘God’s Country’ and ‘Body Of Mine’, it’s propelled by a fierce racing energy and ferocious sense of urgency, once again cementing Lambrini Girls as a truly formidable force to be reckoned with. Lambrini Girls will be heading off on their biggest headline tour yet next Spring. Tickets and info here.
(Mari Lane – Managing Editor)

Glixen – ‘Sick Silent’
I’m fully crushing on this crushing piece of heavy shoegaze from Arizona-based band Glixen. Vocalist Aislinn Ritchie’s melancholy voice floats over spiralling, intensely distorted riffs, shrouding listeners in a chasm of intoxicating noise. I’m looking forward to hearing the EP Glixen are currently working on with producer Sonny DiPerri (My Bloody Valentine, DIIV)
(Kate Crudgington – Features Editor)

Slung – ‘Neurotic’
Having completely blown us away playing for us at the Sebright Arms earlier this year, grunge-tinged supergroup Slung (featuring members of Sit Down, The Death Of Us and InTechnicolour) have now released their debut single. Building with an ominous tension, ‘Neurotic’ ripples with a haunting energy, finally culminating in an fierce climax of raging catharsis. Of the track, front woman Katie explains: “The song is a series of small moments from my life that have been representative of this more encompassing overall fear of disempowerment and relinquishing control… A recurring dream of being born with superpowers, but then one day, when everyone’s counting on you, your power just disappears and and you have no idea how to bring it back.” (ML)

Bonnie Trash – ‘Kisses Goodbye’
Bonnie Trash – led by Canadian-Italian twin sisters Emmalia and Sarafina Bortolon-Vettor – have amplified their darkened post-punk anthems by inviting their longtime friends Emma Howarth-Withers (bass) and Dana Bellamy (drums) to join their line up. As a four piece, the band are able to double down on the intensity of their sound, which explores shadowy emotions like grief, heartache and loss. It’s these experiences that have shaped Bonnie Trash’s recent EP, My Love Remains the Same, which is out now via one of my favourite labels Hand Drawn Dracula. (KC)

dethcaps – ‘Wave Goodbye’
This track from San Francisco grunge band dethcaps is an intense reflection on depression and suicidal thoughts. By blending their raw, observational lyricism with hazy melodies and swirling riffs, the band hope to inspire connection and empathy when it comes to the complexities of these issues. “It’s not just a song,” the band explain, “it’s a conversation starter and a powerful statement on the realities of mental health.” (KC)

ARXX – ‘Swim’
Written after Hanni came out as non-binary last year, ‘Swim’ is the latest single from total faves ARXX. A song dedicated to empowering trans people with their gender journeys, it offers a swirling euphoric ode to trans joy and being able to be your true self; reminding those currently coming to terms with their gender identity that it does get better. Hanni explains: “The world currently doesn’t feel like a very safe place to be trans, and for that reason a lot of the dialogue around trans issues is really scary and saddening. Those stories are so necessary, but with ‘Swim’ I wanted to take a minute to express the joy that comes with learning yourself and feeling love from your community around you.” I’ve had this song on repeat all week, crying and smiling and just being so grateful that ARXX exist. I can’t wait for their new album, Good Boy, which is out a week today (pre-order here) and I’m super excited to see them live again at Lafayette on 6th November! (ML)

SASAMI – ‘Slugger’
I’m eternally impressed by the way SASAMI can switch between folk, metal and pop music and make it look and sound totally seamless. I had her genre-blending album, SQUEEZE, on repeat when she released it back in 2022, but her recent singles ‘Honeycrash’ and ‘Slugger’ are now becoming new favourites of mine. I’m thrilled that she’s reclaiming pop music in her own way and using it to explore her gender, sexuality and romantic relationships, developing her own sense of self within this process. ‘Slugger’ will feature on her excellently titled new album, Blood On The Silver Screen, which is set for release on 7th March 2025 via Domino. SASAMI will also be in the UK in October playing two headline shows – The Lower Third in London on the 29th and Yes in Manchester on the 30th. (KC)

CATBEAR – ‘Grow Up’
The second single of the year from London-Brighton queer duo Catbear, ‘Grow Up’ offers an ‘80s-tinged synth-pop anthem reflecting on the struggles of being an underachieving millennial. Propelled by sizzling beats and a searing gritty energy, it’s another example of the instantly infectious genre-defying creations that Catbear are able to captivate our ears with. Of the track, they explain: “Plenty of songs are written about being a teenager, even about the progression into early adulthood, but hey, we’re in our 30s now. This is life in England in 2024 for us – maybe some people can relate.” (ML)

Roller Derby – ‘Ready To Forget’
Embodying a sparkling bittersweet mix of joy and melancholy, ‘Ready To Forget’ offers an intimate reflection on coming to terms with the end of a relationship; beautifully interweaving raw textures with the stirring empowering energy of its harmonious choruses. Bringing a fresh energy to the German duo’s ever-evolving sound, I love its swirling, gritty allure. Roller Derby release their debut album on 28th February next year and will be celebrating with a little trip to the UK next May, including dates playing for us in London and Brighton. info & tickets here! (ML)

Georgia Gets By – ‘Split Lip’
‘Split Lip’ is the woozy, intoxicating title track from Georgia Gets By’s recent EP. The solo project of New Zealand artist Georgia Nott, who has spent the last decade fronting electronic pop project BROODS, under her new moniker Notts explores the diverse nature of true intimacy and the sting of rejection, all inspired by the end of her first queer relationship. (KC)

Soft As Snow – ‘Palms’
Berlin-based Soft As Snow are back with a hypnotic blend of experimental trip-hop sounds on their latest single ‘Palms’. Taken from their third album, Metal.wet, which is set for release on 8th November via Beacon Sound, it’s the first taste of what’s to come from this dynamic duo who create ethereal-yet-edgy soundscapes. (KC)

Freak Slug – ‘Spells’
The latest single from Manchester artist Xenya Genovese aka Freak Slug, ‘Spells’ fizzes with a glitchy, quirky energy and sultry allure, offering an instant earworm that’ll have you hooked on first listen. ‘Spells’ is taken from Freak Slug’s upcoming debut album, I Blow Out Big Candles, which is set for release on 8th November via Future Classic. (ML)

Pom Pom Squad – ‘Street Fighter’
Ahead of the release of their new album next month, Pom Pom Squad have now shared a fierce synth-driven new single. Oozing a sizzling energy, it offers a racing slice of pop-punk complete with an infectious tongue-in-cheek sense of fun. (ML)

Urge Surfer – ‘Glass Ceiling’
New York electro-pop duo Urge Surfer released their latest EP, Alphabet Archive, at the end of August, and this track ‘Glass Ceiling’ features on the record. Together, Jordan Smith and Chelsea O’Donnell explore gender dysphoria, their evolving identities and embracing change on their new offering, all underscored by their atmospheric synth textures. (KC)

Dogviolet – ‘Violets’
Although it may seem like Dogviolet have been around for a while now (they actually played their first ever gig for us back in 2022!) they are only now releasing their debut single. And it’s been worth the wait. Oozing a soaring celestial splendour and seething raw emotion, it offers a stirring tale of queer awakening and young love. Dogviolet will celebrating the single’s release with a night of Sapphic joy next Wednesday 2nd October. Limited tickets left on Dice! (ML)

Miya Folick – ‘La Da Da’
The latest single from LA artist Miya Folick, ‘La Da Da’ follows her 2023 album, Roach. Rippling with a raw emotion and twinkling sense of vulnerability, it delves into themes of identity and desire, as it builds with a lilting energy to a beautifully shimmering ballad. Folick reflects: “I was slowing down, saying no, responding when I actually had an answer, and asking for the things I specifically desired rather than the things I thought I was supposed to want.” (ML)

Soccer Mommy – ‘Driver’
Described as a “testament to her spaciness and indecision” this latest single from Nashville indie artist Soccer Mommy is all about embracing your flaws. ‘Driver’ is taken from her upcoming album, Evergreen, which is set for release on 25th October via Loma Vista. Soccer Mommy has mined her innately raw songwriting techniques on her new record to help her move through the lingering effects of personal loss. I’m looking forward to hearing the LP in full. (KC)

Our Girl – ‘What You Told Me’
Having fallen completely in love with their 2018 debut, Stranger Today, I am very happy to hear the news that London trio Our Girl are back and releasing their second album in November. Ahead of the album’s release, and following previous offerings ‘Relief’, ‘Something About Me Being A Woman’ and album title track ‘The Good Kind’, latest single ‘What You Told Me’ reflects on the heartbreak of seeing illness affect someone you love, and the joy that can come in the moments of respite. Propelled by a whirring energy and brit-pop inspired scuzzy hooks, it fizzes with a stirring raw emotion as Soph Nathan’s distinctive vocals ripple with an understated powerful grace, creating a deeply resonant shimmering splendour. The Good Kind, the upcoming album from Our Girl, is set for release on 8th November via Bella Union. Pre-order here. (ML)

Sassyhiya – ‘Boat Called Predator’
Having charmed us playing live for us at both the Shacklewell Arms and Matchstick Piehouse last year, London-based faves Sassyhiya have now announced that their debut album will be released in November. Propelled by a jangly energy and the band’s trademark twinkling lighthearted uplifting charisma, latest single ‘Boat Called Predator’ is named after a boat that Kathy and Helen saw being towed while they were travelling through Scotland. Take You Somewhere, Sassyhiya’s debut album, is due for release on 8th November via Skep Wax Records. (ML)

Fightmilk – ‘That Thing You Did’
The latest single from their upcoming new album No Souvenirs, ‘That Thing You Did’ showcases all there is to love about total faves Fightmilk. Exploring post break-up feelings of trying (and refusing) to forgive and forget, it’s propelled by the band’s trademark scuzzy energy, creating an instantly catchy slice of perfect punk-pop that’s angsty and uplifting in equal measure. No Souvenirs, the upcoming third album from Fightmilk, is out on 15th November via Alcopop! Records. Catch them live on tour to celebrate. I can’t wait to see them that night at Paper Dress Vintage. Tickets and info here. (ML)

NEXT TO NADA – ‘MOTHS’
If you’ve ever wondered what it would look like if a punk band shot their debut music video on a narrowboat, wonder no more! London based “sludge rock” four piece NEXT TO NADA filmed the accompanying visuals for their latest single ‘MOTHS’ inside of one, reflecting the chaotic but ultimately enjoyable nature of modern life. The track is taken from the bands’ recent EP, WHINE // MOTHS, a collection of grinding-yet-gleeful anthems designed to release the pent up frustrations of everyday life. (KC)

Split Chain ft. Softcult – ‘(Re)-Extract’
I am obsessed with this heavy collaboration between two of my current favourite bands: Bristol noise merchants Split Chain and Canadian shoegaze duo Softcult. With it’s blistering riffs, crashing percussion, gauzy vocals and screams; it’s pure Gloomy Girl territory and I LOVE it. (KC)

A.A. Williams – ‘SPLINTER’
Currently on her debut tour of the United States, London based heavy songwriter A.A. Williams has shared this potent new lament. ‘Splinter’ masterfully blends Williams’ tentative piano keys with thundering riffs and crashing percussion to create a cathartic four and a half minutes of doom-tinged, atmospheric sound. She will be returning to the UK to appear on the main stage at Damnation, Europe’s largest indoor metal festival, at Manchester’s BEC Arena on 2nd November. (KC)

Divide and Dissolve – ‘Monolithic’
Newly signed to Bella Union, ‘Monolithic’ is the latest single from Divide and Dissolve, the heavy instrumental project of Takiaya Reed. Her haunting saxophone notes collide with a cacophony of cymbal smashes and gargantuan riffs to create a sonic prayer for “systems of liberation, freedom, Indigenous sovereignty and for a Black future.” Reed is set to release a new album in 2025, the heavily anticipated follow-up to Divide and Dissolve’s fourth LP, Systemic, out now via Invada. (KC)

Zamilska ft. husky – ‘Odyssey’
I was excited to see this track by Polish electronic artist Zamilska drop into my inbox earlier this month. Taken from her upcoming album, United Kingdom Of Anxiety, which is set for release on 4th October via Untuned Records (Zamilska’s own label), this track is an intoxicating post-apocalyptic soundscape that totally enraptures the senses. Zamilska will be supporting the inimitable Kim Gordon on her upcoming European tour. Full dates can be found here. (KC)

Bambie Thug – ‘Hex So Heavy’
Described as “a witches siren” and “a warning” to those who have crossed them, I’m hooked on this seething slice of genre-defying noise from Ireland’s Bambie Thug. The artist’s potent desire to reek havoc on those who have underestimated them is personified in the track’s accompanying visuals, which see Bambie take on the form of a foreboding arachnid creature. The artist is currently on the European leg of their ‘Crown The Witch’ tour, supported by devious duo The Darklings for the majority of their dates, with the addition of my older brother’s band – Northampton industrial/electronic project Drownd – for their show in Amsterdam on 8th October! (KC)

Toya Delazy – ‘Eazy’
I was gutted to have missed Toya Delazy’s collaborative performance with GROVE and Taliable when I was at Supersonic Festival in Birmingham last month, but I’m glad this single from the South African Zulu artist dropped into my inbox shortly afterwards. “This song is a story about someone who climbed into their own grave looking for hope,” Delazy explains. “It’s about taking a hard situation and making it work in your favour. Leaving South Africa as a Zulu girl to go to Britain to sing Zulu songs was seen as suicide, given the history we have with the British, but I really believed in the power of collaboration and diversity, even though the world today weaponises our diversity against each other.” I love Delazy’s distinctive vocals, which flow over frenzied beats and glitchy electronics here. (KC)

45AcidBabies – ‘Love Me 10der’
The return of Dutch garage pop-punks 45AcidBabies, ‘Love Me 10der’ sizzles with whirring riffs as the band offer a colourful retaliation to tax authorities and the powers curtailing our rights; an empowering ode to ‘painting the world pink’ and building community. (ML)

SOPHIE ft. Hannah Diamond – ‘Always and Forever’
Late, great producer and trans pioneer SOPHIE’s eponymous new album has been released, and what a joy it is to have it in existence. The posthumous LP showcases just how essential and innovative SOPHIE’s creations were, put together by her brother and longtime producer Benny Long. Featuring Hannah Diamond, single ‘Always and Forever’ was recorded in London during the 2020 lockdowns and turned out to be the last time that she would see her friend SOPHIE. A glistening and heartfelt offering, listening to it you can’t help but feel that SOPHIE is still with us, continuing to influence the pop landscape with her unique spirit and sound. SOPHIE, the posthumous release, is out now via Transgressive and Future Classic. (ML)

Elsa Hewitt – ‘Poiselle’
I’m such a big fan of Elsa Hewitt’s ambient electronic creations. This track is taken from her upcoming album, Dominant Heartstrings, which she will be releasing in the near future. I’m still spinning her previous LP, Chaos Emeralds – but I’m excited to hear more of her wonderful synth and vocal loops on this new record. (KC)

heka x Saint Jude – ‘Swallow’
‘Swallow’ is one serene part of a beautiful collaboration between South London left-field musicians heka and Saint Jude. Released via Slow Dance Records, the cinematic track melts heka’s atmospheric gothic-folk influences into Saint Jude’s gentle, celestial ruminations. You can listen to their equally as captivating companion piece ‘In Your Garden’ here. (KC)

Half Waif – ‘The Museum’
The new single from Nandi Rose aka Half Waif, ‘The Museum’ is taken from her upcoming new album, See You At The Maypole, a stunningly heartfelt collection, written after Rose experienced a devastating miscarriage. Flowing with an effervescent grace, this single offers a stirring reflection on climate catastrophe and the irony of the idea of museums “preserving pieces of furniture in a pristine, white-walled space when outside, everything is collapsing.” See You At The Maypole is set for release on 4th October via ANTI-. (ML)

Dawn Richard & Spencer Zahn – ‘Diets’
Lifted from their upcoming second collaborative album, Quiet In A World Full Of Noise, ‘Diets’ is a dreamy offering from New Orleans R&B singer Dawn Richard and New York composer Spencer Zahn. Throughout the track, Richard draws parallels between cutting out harmful relationships and losing weight, all underscored by Zahn’s tentative and considered keys. Their new record looks set to be a deeply emotive collection of songs, set for release on 4th October via Merge Records. (KC)

Dear Pariah – ‘KOKO’
This is an exquisitely emotional, tender offering from independent artist & former GIHE radio guest Charlie Hinchcliff aka Dear Pariah. ‘Koko’ will feature on her upcoming EP, The Weeper Takes, which is set for release in October by the excellent Trapped Animal Records. The tracks are inspired by Hinchcliff’s ongoing struggle with her chronic illness multisystem Sarcoidosis, her sobriety and the literal weeping that sometimes occurred when she was recording and writing her music. Watch the accompanying video for ‘KOKO’ here and catch Dear Pariah live at St. Pancras Old Church on 1st November. Ticket link here. (KC)

Sephine Llo – ‘Rest With Me’
An ethereal lament for her late husband Robert, this single from multi-instrumentalist Sephine Llo is a remarkably poignant, shape-shifting piece of work. Taken from her upcoming album, Diamond Fall, which is set for release on 25th October – the date of the couples 10th wedding anniversary – the track features samples from a song Robert wrote as a teenager, seamlessly woven into Sephine Llo’s gentle instrumentation and guided by her yearning vocals. (KC)

Gazelle Twin – ‘Two Worlds’ (Keeley Forsyth Ghost Version)
A glitchy, haunting form of musical possession; Keeley Forsyth’s remix of Gazelle Twin’s track ‘Two Worlds’ enhances the shudder inducing atmosphere cultivated by the original offering. Forsyth’s “Ghost” version features on Shadow Dogs, a brand new album of reworkings and reinterpretations of songs from Gazelle Twin’s acclaimed fourth album, Black Dog. The new LP will be released on 18th October via Invada, and features contributions from Gary Numan, Penelope Trappes, BEAK>, Marta Salogni and more of Gazelle Twin’s talented collaborators. (KC)

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INTERVIEW: Bleach Lab

Released in September 2023, Bleach Lab’s debut album, Lost In A Rush Of Emptiness, is an impressive collection of poignant catharsis, poetic heartache and dreamy textures. Demonstrating a mastery of their shoegaze-inspired ethereal sound, influenced by the likes of Mazzy Star, Cocteau Twins and Stereolab, Bleach Lab feel like a band who are comfortable and vulnerable in their own skin.

When we last caught up with them in 2021, the London and Brighton based four-piece were adapting to rehearsing and performing in person, having formed during the pandemic. In 2024, it’s fair to say much has changed – with numerous celebratory and admiring album reviews under their belt. Having recently completed their European tour, plus their first ever shows in the US, Bleach Lab are in a self- professed “really good place”.

We caught up with vocalist Jenna Kyle and drummer Kieran Weston to talk about the album tour, their experience of recording in pyjamas with Grammy-nominated producer Catherine Marks and their “School of Rock” pre-show ritual…

Hi Jenna and Kieran! Firstly, congratulations on the one-year anniversary of your debut album, Lost In A Rush Of Emptiness. What has the past year looked like for you? What has changed for you since the release?

Kieran: It’s been a year of basically just trying to ‘live’ that album as much as possible – trying to play shows and get the music out there, live. I feel like our songs come to life in a new way live, especially songs like Counting Empties. It’s been important for people to connect with those songs in a live sense. We’ve played some amazing shows like South By South West, we had the album tour as well and played Scala which was insane. So, yeah, a big push on playing live and really letting those songs live. Obviously, it’s been a year, and we wanted to make sure we had a full year for the songs to really ‘live’.

Jenna: Like Kieran says, sitting with it, but also having a focus on what’s next and continuing to write. There’s a crossover of those two, which we’re now doing.

You completed a European tour and played your first show in the US this year. How were those experiences? How did playing in the US compare to playing for home crowds?

Jenna: It was really exciting! I think we were all very apprehensive – obviously it’s the other side of the world, so you don’t really know how you’ll be received. We had quite a lot of fans messaging us to say that they were excited to see us, so we knew there would be a few heads in the crowd. We were very jet-lagged, though, and a little bit… delusional?

Kieran: I would say delusional is actually the right word!

Jenna: We were also only there for around four days. It was actually my first time ever in the US, I had never been on a long-haul flight, so it felt like being in a bit of a
different world.

Kieran: Yeah – four days and four shows, so it was a lot, but it was incredible to be that far away from home and to see people in the crowd singing – that was pretty mega. Quite consistently, too! I don’t think any of those shows were quiet ones, so it was quite mind-blowing to be honest.

That sounds like a whirlwind. I often hear bands talking about having equipment nightmares when moving between playing shows in the UK and the US…

Kieran: You had that Jenna, didn’t you?

Jenna: Yeah, I use in-ear monitors on stage and I thought they had broken during the flight or transport, because they didn’t work at any of the venues. We tried them for the first time at 1am at this quirky dive-bar venue and they just wouldn’t connect, and I just thought ‘shit. Bloody broken them, haven’t I?’ Because I don’t put them in a safe box or anything. All the signals were overlapping, and you couldn’t get the right connection on the box. But we made it work!

Kieran: It was proper band-y. You know – wake up, go to a venue, literally get thrown on stage, perform, get off the stage, and then repeat. Very quickfire. It was pretty cool.

Do you have a pre-show ritual to help with creating some kind of routine?

Jenna: We’re very chilled really, we tend to just have a lot of down-time before shows.

Kieran: Our manager has actually raised with us before, we’re like the most low-energy band before a gig ever! We are very chilled. We do have a few rituals immediately before going on stage though…

Jenna: Literally as we walk on stage, we do [mimes fingers in a kicking motion] – is it from School of Rock? It’s really lame, and we make sure that nobody sees it, but it is happening!

Kieran: School of Rock, yeah. The ‘let’s rock, let’s rock today’ handshake.

I love that – it’s a classic. What have been your favourite songs to perform live from this album?

Kieran: For me it would absolutely be ‘Everything At Once’, it was also one of my favourites to record, but performing it live, it’s just taken on this whole new energy, so much so that it’s actually kind of informed what we’re doing moving forward, that kind of grungier sound. We’ve seen how that was received live, seen some movement in the crowd, some head bobs! So that was a song that massively came to life for me from performing it and moving forward it’s definitely forming the direction we’re moving into.

Jenna: Yeah, for me as well, ‘Everything At Once’ is definitely a moment I always look forward to at the end of the set – we’ve been finishing our sets with it for a little while now because it’s got such a big ending and it’s really fun. But I think for me, my favourite to perform is ‘Saving All Your Kindness’ – it’s just a really heartfelt, emotional ‘let’s bring it down’ moment in the set. It’s got my favourite lyrics of the album as well, so I really enjoy performing that and just feeling that emotion. ‘Counting Empties’ also goes down quite well too – it’s a slower moment for us but it helps build momentum as well.

Kieran: I guess there’s two sides to live shows. A side where we do have songs like ‘Everything At Once’ where we’d like people to be able to get moving, but also, we’ve always had those songs where people really relate to them, songs like ‘Counting Empties’ and ‘Saving All Your Kindness’ and equally, that side has its moment as well, which is what makes live shows so enjoyable.

When we last spoke to you in 2021, it was mentioned that you were refining your song-writing processes in the wake of emerging from lockdown and writing and rehearsing remotely. How has that come along? Is writing remotely still a part of the process?

Kieran: Well, we had a tricky situation where our guitarist left after the album – we got a new guitarist in, Lewis, who I’ve known for six or seven years, so it felt fairly
seamless. But it has definitely meant a different approach to writing, we still do things remotely but less so, there’s been a lot more in-the-room writing. Lewis is a producer, and Josh and I live down the road from his studio, so we’ve been in there writing instrumentals together, which has never really happened before. Jenna has come down a lot for lyric writing and melody writing, which we’ve all then had input with this time, so that’s been really nice. Lewis and I tend to take the instrumentation and more ‘atmospheric’ side of writing and production perhaps, with Josh and Jenna [working more] on the lyric side.

It’s great to hear that there’s such collaborative input. Jenna, you’ve spoken previously about being influenced lyrically by other songwriters. Are there literary sources of inspiration for you too? Given that the album name is from a line from Leonard Cohen’s poetry collection, The Flame?

Jenna: Josh definitely has some literary influences. For him, it’s been Patti Smith’s book Just Kids and the poem ‘Do Not Stand At My Grave and Weep’ by Mary Elizabeth Frye. Poems like that inform some of Josh’s writing about his father passing away. Josh writes a lot of poetry and reads a lot of books and is really into his writing, which is a slightly different writing process to me. I lean on my experiences and my life lessons and things I’ve been through, or that my friends have been through, rather than specific writers.

Your album was released following several successful EPs. how did recording an album compare to recording an EP? Did you feel that there were any different considerations you needed to take into account?

Jenna: We describe the EPs as sort of ‘experiments’ with what worked for us, what we wanted to sound like sonically and what our image was. It was a lot of exploration and discovery. I think we learnt a lot from those EPs about how we would like to produce and write the album, and how we would like it to be perceived as a whole project. The recording process for the album was almost completely different.

In what way?

Jenna: With the EPs we were pretty separate for much of the recording – drums and bass were recorded in one location and the guitars were put down separately. When I was recording vocals, I think I only probably saw the guys once or twice. It would just be me and whatever producer we were working with at the time. But with the album, for the most part, it was recorded with us all together in one room. It was a lot more collaborative, and we were able to be a lot more involved with each other’s instruments.

Kieran: It was the first time we had recorded something all live, pretty much. I think it was what the music needed, we always wanted the album to be more authentic and a bit more ‘rough around the edges’ to keep that charm to it. Vocals tended to be put in over the top, but Jenna was recording guide vocals in the room. The takes that ended up on the album for the drums, bass, and guitar were all together, from looking and feeding off each other’s energy, which was the main difference to anything we’ve ever done before, really.

What was it like to work with Grammy-nominated producer Catherine Marks (boygenius) on Lost In A Rush of Emptiness? How do you think she contributed to the feel and sound of the album?

Kieran: Catherine drew the perfect line between letting us be a band and giving us that freedom in the live room. There was one point that I kind of just when off on a whim and did a half-time bit, which ended up on the album in ‘Everything At Once’ and she really encouraged that, but then also had the ability to steer us into the right direction. She was really good at being like, ‘No, this is fine, this is what we need to do’ and coming into the room and saying ‘can you try this, this way?’, so it was the perfect line between giving us freedom and creativity but also steering us in the right direction. It was an amazing experience and I think that comes across in the sound of the album to be honest.

That confidence in your own sound, which feels pretty established now, definitely comes across on the record. In your own words, how would you describe the essence of Bleach Lab’s sound?

Kieran: We actually thought about this at length before starting. We decided that we wanted the album to sound ‘like red wine and dark chocolate’ and from the very start of recording we had that in mind, to the point where we actually came in to record in pyjamas, just to really set the tone.

Jenna: Catherine was in pyjamas as well!

Kieran: With everything we did we were just thinking of that image, and that helped to mould the whole album and that vibe. It just feels warm and like you want to just be listening to the vinyl, by a fire, with a red wine. I love that we did that. It really worked.

You recently posted a video on Instagram of you guys covering Chappell Roan’s ‘Good Luck, Babe!’ – are there other artists or songs you enjoy covering?

Jenna: We recorded and released a live session of Mazzy Star, which was a while ago now, but loved that and we had quite a good response from that as well. With the Chappell Roan cover, we’re big fans, obviously at the moment she’s taking over the world, and I think we thought putting a little bit of a Bleach Lab spin on it would be fun.

We’re always talking about covers. Every time I think one of us has a drink and we’re out, we’ll always message like ‘We need to cover this song’ and we never do – we’ve got a ridiculously long list of things we would like to. I wanted to cover something like Avril Lavigne or Gwen Stefani – I don’t know, just taking something obscure and putting a Bleach Lab twist on it. We haven’t done anything live yet – our manager is very insistent that we do, she wanted us to do the full ‘Good, Luck, Babe!’ live. I can imagine it going well.

Kieran: We really want to do something that’s completely not Bleach Lab and make it Bleach Lab and I think once we find that, it could be Avril Lavigne to be fair, I think that’s a good shout…

Jenna: I think we also mentioned ‘Planet Caravan’ (by Black Sabbath). That could be on the cards.

We’d love to hear a Bleach Lab take on ‘Sk8er Boi’. What are you looking forward to in the coming year?

Kieran: I think actually we’re in a really good place as a band. The mood is really good at the moment, we’re into the second album but I don’t really feel like there’s pressure and I think that’s perhaps due to changes in the band it all feels new, quite naturally, with a new member in there. Where perhaps before we’d have to think about developing our sound, it has kind of happened naturally because the band has developed. So, a lot of excitement – a lot of writing going on, some really good songs with a bit of a new sound, but staying true to what our fans like. It’s just excitement really to get cracking. Hopefully do what we did with the first album all over again. That’s the plan!

Thanks to Jenna & Kieran for the chat!

Follow Bleach Lab on bandcamp, Spotify, Instagram, Twitter & Facebook

Questions: Jen Horsfall

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Video Premiere: Piney Gir – ‘Show Me The Lightning’

Having toured the UK, Europe, Australia and America extensively over the years – singing and playing keys/percussion with Gaz Coombes, performing and arranging backing vocals for Noel Gallagher, and supporting the likes of Ride, The Brian Jonestown Massacre and The Magic Numbers (to name a few!) -, Piney Gir has recently released her new EP, Cosmic Upside Down. Completing a magical trilogy of releases, following Alchemy Hand in 2022 and its predecessor Astral Spectra in 2021, the EP marks twenty years since Piney Gir released her first album, Peakahokahoo. Touching on themes ranging from climate change to feminism, it maintains the spiritual roots and majestic immersive splendour that we’ve come to know and love from the self-proclaimed ‘witch’ of indie-pop.

Taken from the EP, ‘Show Me The Lightning‘ sees Piney embracing the storm of her emotions. Dripping in psychedelic synths and glistening reverb, it offers a powerful slice of retro garage-rock, complete with ’60s-inspired organs and cyclical guitar, as Piney declares she “wants to feel it all”. Impossible not to get caught up in its jaunty, lilting energy and the sparkling allure of Piney’s lush honey-sweet vocals, it offers an uplifting and captivating ode to the power of the natural elements; recognising how weathering a storm can help us to grow. She explains:

“In the song I kind of dare the elements to pull out all the stops! Like, give it to me, I want to feel it all!  And that’s true, I want to feel everything, the good and the bad, the highs and the lows. I think it’s important to be in touch with the whole spectrum of emotion & not numb the stormy weather, but to go with it.”

‘Show Me The Lightning’ is accompanied by a brand new new video, created and directed by Parenthesis Dot Dot Dot. Depicting Piney Gir as a quirky, witchy weather girl, and featuring appearances from an ominichord, dog puppets and even an ‘omin-dog’, it offers a wonderfully off-kilter visualisation of the track; a fun-filled tale of supernatural forces which is not to be missed! Talking about the inspirations behind the making of the video, the director explains:

“The original idea came from one of Nick Cave’s documentaries about when he moved to the UK, and began obsessively writing about the weather in an altered state. So much so that he started to believe that he was in control of the weather. It then spiralled out of control and became something bigger, a sort of weird Tim Burton-esque B-movie thing involving special effects and puppets!“

Piney adds:

“I love how deranged and happy he coaxed me to be as the weather girl filling the world with storms… I really enjoyed the bit where I bring the Omni-dog to life. I can’t believe Parenthesis made that dog puppet overnight, its teeth were made of rubber bands, and it fit perfectly around my Omnichord! Was ridiculously fun shooting this!“

Watch the “ridiculously fun” new video for ‘Show Me The Lightning’, for the first time, here:


Cosmic Upside Down, the new EP from Piney Gir, is out now on No Distance Records. Download / listen on bandcamp now. And don’t miss a special night celebrating 20 years since Piney Gir’s first album on 13th October at The Lexington – she’ll be joined by a superstar line-up including Anat Ben-David (Chicks On Speed) and  Psycho Delia (Robots in Disguise) and DJ Chewy She – nab tickets here!

Mari Lane
@marimindles



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