LISTEN: Nastazia Bazil – ‘Call Me Habibi’

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

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

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

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

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

Ella Patenall
@ellapatenall

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Five Favourites: Roller Derby

Kicking off their UK tour tonight in Manchester at The Peer Hat (there will some tickets left on the door), Hamburg dream-pop duo Roller Derby have been charming our ears with their sparkling heartfelt anthems for some time now, and delivered such a wonderful performance for us at their sold out show at Shacklewell Arms last time they were over in London in 2024. Having recently released their exquisite debut album, When The Night Comes, they’ve showcased their ability to meticulously interweave the luscious celestial vocals of Philine Meyer with glistening multi-layered soundscapes and raw textures to create something truly captivating. 

To celebrate their first proper tour of the UK, Roller Derby have reflected on their five favourite albums by British bands and artists, sharing a few words about how much they love them and the different ways they feel influenced by them. So, have a read of their choices below, make sure you check out their stunning album, and pick up a ticket for their UK gigs now!

Dry Cleaning – New Long Leg
When we heard ‘Scratchcard Lanyard’ by Dry Cleaning on the radio for the first time, we were immediately blown away. We love the band’s sound, especially Florence Shaw’s vocal performance. The music video for the song is also one of the best we’ve ever seen. Their long-awaited debut album New Long Leg was released in 2021, and album track ‘Strong Feelings’ is also a really wonderful and hypnotic song.


The Cure – Disintegration
The Cure and Robert Smith are probably our biggest musical inspiration. The way they blend sadness with joy – melancholy with playfulness – is something that never stops inspiring us. Disintegration feels like one cohesive piece, yet it’s incredibly diverse – something we deeply admire and keep coming back to. ‘Plainsong’ is our favourite album opener of all time – maybe even Manu’s favourite song ever. We were lucky to see The Cure live at their 40th anniversary show in Hyde Park in 2018. It was an incredibly hot day, and pretty much everyone in the crowd was dressed in black – which made the whole thing kind of funny, in the most Cure way possible.

Temples – Sun Structures
Manu discovered Temples’ debut album Sun Structures back in 2014 and listened to it non-stop at the time. Alongside Tame Impala, it had a big influence on his taste in music and really pulled him deeper into psychedelic sounds. He has seen the band live twice in Hamburg, and the record is proudly displayed on our living room wall. Maybe the intro of ‘Shelter Song’ even had a little influence on our own track ‘Always on My Mind’!

Rolling Stones – Flowers
This list should also include what is probably the biggest and best-known band from England. Philine came into contact with the music of the Rolling Stones at a very early age, as a cassette of the album Flowers was always played in the family car on long car journeys. ‘Ruby Tuesday’ remained as a favourite song, but ‘Out Of Time’ and ‘Sitting On A Fence’ are also great songs. The recording of ‘Let’s Spend The Night Together’ is also amazing.

The Last Dinner Party – Prelude to Ecstasy
I don’t think anyone has quite been able to get over the band The Last Dinner Party over the past year. They released such an impressive debut album – it’s really exciting musically and we really like the baroque-pop approach, which is reflected in their whole outward appearance. Philine particularly loves the songs ‘On Your Side’, ‘The Feminine Urge’ and of course ‘Nothing Matters’.

Huge thanks to Philine and Manu for sharing their Five Favourites with us! Make sure you check out the full When The Night Comes album and then nab a ticket to their special London headline show at The Lexington this Friday, 9th May!
Get a taste of what to expect in this gorgeous video for recent single ‘In Spring’:



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ALBUM: Scrounge – ‘Almost Like You Could’

Since our promoter Mari booked South London duo Scrounge for a Get In Her Ears gig at The Windmill in Brixton back in 2018, we’ve been avid fans of their vital art-punk anthems. Formed of lead vocalist & guitarist Lucy Alexander and drummer & vocalist Luke Cartledge, the pair have been bringing their formidable live sound to stages across the UK for years, as well as taking them across the pond to the USA to perform at SXSW in Texas and The New Colossus Festival in New York.

It’s at the latter that Scrounge caught the attention of label Ba Da Bing! Records, who have worked alongside the pair to release their first full length record, Almost Like You Could. Following on from Scrounge’s debut mini-album, Sugar, Daddy – which featured on our Albums of 2022 list – the title hints at the prospect of existing beyond the chaos and despondency of the current social and political climate. All it takes is a commitment to friendship, community and the guts to live authentically; something that Scrounge have dedicated themselves to on and off stage.

Sugar, Daddy was a succinct blend of cutting lyrics, intense riffs and fraught percussion that truly hit a nerve, but on their first full length offering Scrounge have upped the anti and delivered a collection of anthems that are just as hard-hitting and relatable, whilst simultaneously managing to explore new sonic territory in the process. Take closing track ‘Nothing Personal’ for example. Luke takes the lead vocals on this stripped back offering, which tackles themes of urban isolation. It’s a vulnerable and fitting end to a record that doesn’t hold back in any sense. The pair shared in an interview with The Line Of Best Fit that they incorporated samples and recordings they’d captured throughout the album’s recording process into this track, proving that their desire to push the boundaries of what they’re capable of as a two piece is as steadfast as ever.

Single ‘UTG’ is another stellar example of Scrounge’s blend of tenacity and vulnerability. Lucy penned the track to express how as a queer person, she feels that the process of “coming out” never truly ends. She pairs her earnest lyricism with a more buoyant guitar sound here, making it one of the band’s softest tracks to date, but it still retains the visceral emotional potency of Scrounge’s sonically heavier offerings. The duo balance these conflicting elements effortlessly throughout the record, which gives Almost Like You Could its impressive cohesive quality.

The album has been fuelled by the kind of proactive, cathartic cynicism that motivates you to resist and revolt, instead of sending you into a hopeless spiral. The pair acknowledge that even though things might be dire, there will always be moments of joy, pleasure and hope if you look hard enough for them. This is directly addressed on the ricocheting beats and riffs on opener ‘Higher’ as well as the melodic ‘Buzz/Cut’. Even the track ‘Dreaming’ – where Lucy repeats the melancholic line “dreaming isn’t all that it’s cracked up to be” – there is still a strong sense of finding faith in reality, however that might present itself.

‘Waste’ and ‘Rat’ are two of the record’s grittier offerings and both simmer with unrest. Lucy’s distorted riffs and Luke’s urgent percussion are totally gripping on both. ‘Corner Cutting Boredom’ and ‘Melt’ bookend each other beautifully – referencing each others titles – and again, they flow with that distinctive pressing momentum that we have come to admire in all of Scrounge’s music.

Almost Like You Could is a powerful, biting reminder that Scrounge remain driven by the desire to create meaningful art that represents who they are, as well as the voices of the allies and DIY communities that they’re a vital part of; which is something that we back all the way at GIHE. Please, please buy this album. All of the team endorse it.

Buy a ticket for Scrounge’s London headline show on Weds 23rd April at The Lexington here

Scrounge are also headlining our GIHE stage at The Great Escape in Brighton on Sat 17th May!
Day & Weekend tickets available here

Follow Scrounge on bandcamp, Spotify, Facebook, Instagram and X

Photo Credit: Joseph Elliott

Kate Crudgington
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ALBUM: Neev – ‘How Things Tie In Knots’

Scottish-born, London-based indie-folk artist Neev has been making her mark on the UK’s indie-folk scene with her intricate storytelling and evocative vocals. Her upcoming second album, How Things Tie in Knots, explores the complexities of identity, heritage, and self-discovery through a rich, cinematic soundscape.

How Things Tie in Knots is an album of contrasts – tradition vs. progression, restraint vs. release, softness vs. intensity. Neev navigates these tensions with poetic lyricism, crafting an album that feels both personal and universal. Thematically, the album delves into the push and pull between letting go and holding on, the weight of expectations, and the nuances of self-acceptance.

Produced by an all-female team; engineered by Taylor Pollock (Cosmorat), mixed by Fi Roberts, and mastered by Izzy McPhee, the album is both expansive and intimate. With backing from Arts Council England, Neev’s vision is further enhanced by Brighton-based artist Rebecca Brandler’s individual paintings for each track, reinforcing the album’s rich aesthetic.

Drawing influence from Scottish folk traditions, blues, and alternative indie production, Neev’s work evokes artists like Weyes Blood, Agnes Obel, and Julien Baker, resulting in an album that is lush, warm and textured. The opening tracks are delicate and folk-tinged, combining gentle piano lilts with airy, melodic vocals. ‘I Put It in the Frame‘ is particularly catchy, bursting with rhythmic energy, big drums, and electric guitars, but it’s ‘He Built Himself’ that marks a sonic shift, introducing a darker, more urgent energy. From this point on, the album gradually expands its sound, moving into deeper, more dynamic territory.

‘My Own Back’ leans into bluesy grit with a Hammond organ-esque sound, violin, and layered harmonies, while ‘Keep Low’ carries a brooding urgency, driven by a cool electric guitar that adds raw energy. ‘A Sad Tightrope’ is the most melancholic track, its slow pacing and rich harmonies drawing the listener to contemplate.

How Things Tie In Knots is, overall, a really bold, polished body of work. With its sweeping arrangements, storytelling, and striking honesty, Neev cements herself as one of the most compelling voices in contemporary indie-folk.

How Things Tie In Knots, the upcoming second album from Neev, is released tomorrow – 28th March – via Trapped Animal Records. Pre-order here. And, following a gorgeous night at The Lexington last week, Neev will be celebrating it’s release with a special gig at The Folklore Rooms in Brighton on Saturday 29th March. Tickets here.

Ella Patenall
@ella_patenall

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