INTERVIEW: Jasmine.4.t

Having just released her exquisite debut album, You Are The Morning, Manchester-based trans artist jasmine.4.t not only featured as one of our own ‘Ones To Watch’ for 2025, but has been receiving tonnes of acclaim over the last few months from publications such as Pitchfork and The Line Of Best Fit, with her latest single ‘Guy Fawkes Tesco Dissociation’ being featured on BBC 6Music’s A List. With the album released via Phoebe Bridgers’ record label, Saddest Factory, it reflects on both the camaraderie and isolation that can be a part of transfeminine life with a stirring glistening emotion. A heartfelt ode to queer friendship, it sparkles with a truly captivating majesty throughout. Whilst it may still only be January, it’s already a definite contender for album of the year.

After catching Jasmine and her band’s stunningly moving performance at The Old Blue Last a couple of weeks back, we were able to have a chat with her about the album, her inspirations and the challenges facing trans artists in the industry, and society in general. Have a read, make sure you check out the album now, and also please consider donating to the Solidarity Fund she mentions at the end of the interview.

Hi Jasmine! Welcome to Get In Her Ears! How are you doing today?
Hi! Thank you! I am very sleepy after getting up at 3:45am to fly to the Netherlands for some shows, but super excited about all that’s going on with my album coming out and the reception it’s receiving. I’m currently on my way to Groningen with my bandmates Eden and Emily, and we are all buzzing.  

Are you able to tell us a bit about what initially inspired you to start creating music?
My uncle left me his guitar when he sadly died by suicide when I was in year two. My dad got me some chord books and I loved learning Jimi Hendrix as a kid. I heard Elliott Smith’s From A Basement On A Hill when I was a teenager, and I deep-dived into his catalogue – my dad borrowed all his CDs from the library and copied them for me. I did the same thing with Iron & Wine. I always wrote alongside learning other people’s songs, and I played in various grunge and punk bands.

I love the glistening energy and raw emotion of your songs, but who would you consider to be your main musical influences?
Elliott Smith and Iron & Wine as I’ve mentioned are big influences, but I think my main influence is Adrianne Lenker. I love her writing, her voice and, in particular, her guitar playing. I am listening to her Instrumentals album right now, it’s my favourite!

You’ve just released your debut album You Are The Morning, which is super exciting! The album reflects on feelings of queer belonging, love and connection, particularly within the trans community – are you able to tell us a bit more about the themes that run through it and the experiences that inspired it?
You Are The Morning is a message of queer hope and solidarity. The songs were written shortly after I came out to those around me, which didn’t go so well. My marriage ended, I tried to move back in with my parents, and when that failed I was homeless for a period. I left Bristol to stay with friends in Manchester where I found community. I fell in love with trans people and met my chosen family, who gave me the strength I needed to start my transition. You Are The Morning is about queer people’s capacity for solidarity but also for change, how we change ourselves and the world around us to bring a brighter future. 

The album’s being released on Phoebe Bridgers’ record label Saddest Factory Records, which is awesome! How did this come about, and what does it mean to you to have been able to work with someone like Bridgers?
I opened for Lucy Dacus in Bristol on her first Europe tour, and we got on really well. She invited me to be tour support for her second album (Historian) tour in Europe – around when my debut EP came out – and we became close and stayed in touch, sharing demos through lockdown. When I got the demos together for the record, I was considering self-releasing, but Joe Sherrin (MOULD/SLONK/Fenne Lily) suggested I submit them to Phoebe Bridgers for Saddest Factory consideration. I didn’t hear back immediately, so I asked Lucy to play the songs to Phoebe if the moment presented itself. I heard back a few months later from Lucy that she had played the songs to Phoebe in the car, and Phoebe was on the phone to her manager discussing signing me! I couldn’t believe it. I opened for boygenius when they came to the UK, and the next day I signed with Saddest Factory. All three members of the band – Lucy, Phoebe and Julien – produced the record. It was a dream come true for me, I’m such a huge fan of theirs, as a band and as solo artists. I feel so lucky. 

And, to record the album, you travelled over to the US to record at the legendary Sound City Studios! How was this experience for you?
Yeah, it was unreal! We had such a good time. I made this band of entirely trans women in Manchester and the label flew me and two of my bandmates – Eden O’Brien and Phoenix Rousiamanis – out to LA. We recorded over two very intensive weeks in that iconic studio. It was such a healing experience, it felt like the hope I wrote into the album the year before was not in vain, because this was on its way. 

I was lucky enough to catch you and your wonderful band live last week at The Old Blue Last – such a beautifully immersive and moving set, thank you. How do you generally prepare for live shows, and what do you enjoy most about them?
Thank you! It was such a nice crowd and my first time playing at that venue. I had such a good time. Travelling as a band of trans women can be stressful at best and dangerous at worst – so before shows we try to relax and hang out together to get in the mindset to perform. The girls are all unbelievably funny, and we don’t take it too seriously. But we know, should anything happen, we have each others backs. Usually, my chosen daughter Yulia Trot comes on the road with us, and her main job is to keep us all safe. Horrifyingly, she has been wrongly imprisoned for her alleged part in dismantling an Israeli weapons factory, on remand until her trial in a year. It is scary going into this year of intense touring without her, but me and the girls are a family and we take care of each other. Hanging with the girls is definitely the best part of playing live. 

Has there been a particular gig you’ve played over the years that stands out as a highlight?
I think my favourite ever show was when we played in the basement of a community favourite pub in Manchester, The Peer Hat. It was for a night that me and some friends organised for the Just Do The Thing transfem meet-up. It was so awesome to play a night of all transfem artists for a majority transfem audience in a packed sweaty basement. 

And, when you’re out on tour, or playing shows, are there any particular essentials that you like to take with you to keep you going?
I always wear my bracelets from my long-distance partners to remind me of their love and support. I always wear at least one Adrianne Lenker hoodie (I’m wearing two right now). I usually take some time before shows to relax and listen to some Adrianne Lenker also.

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?
It’s a pretty shit time to be a trans woman in this country. It’s very unsafe; we are constant targets of violence and harassment, besides the common experiences of homelessness and mental health issues caused by continued interaction with systemic transphobia. We have seen the rise of TERFism, a transphobic brand of fascism perpetuated by figures – including JK Rowling – which has led to a huge backslide in trans access to healthcare. This has been compounded by scare tactics in papers – including The Guardian – when reporting about trans healthcare. Recently, Wes Streeting banned the use of life-saving puberty blockers for trans children, when suicide rates for this demographic are extremely high and rising, while our community mourns the highest recorded rate of violent deaths of trans people. This is the backdrop against which we are trying to make our way as artists. I have been lucky enough to have an incredible manager, Jen Long, who has helped keep me safe and I’m surrounded by people I trust. I have a mostly female and largely queer team. But this industry is very male-dominated at all levels, and from my experience pre-signing, trying to navigate it alone, we trans women encounter friction at every turn. Compounded by the everyday shit that trans women have to deal with, it’s no wonder we are so underrepresented in this industry and in society at large. This has intersections with disability rights and racial injustice – those of us who do break through are almost always white and abled. I am disabled (by society’s failure to meet my ME and POTS related needs), though I pass as abled and I think without Phoebe’s seal of approval and without my white and abled-passing privilege, I would still be struggling to get shows. I think a lot of these issues go beyond the struggle for trans women’s equality in the music industry, but it is just societal ills at work and it affects all of us. I think things are definitely improving at a grassroots level, and I definitely feel cared for by the venues I play, but there’s only so much that small venues, indie labels and promoters can do.

And are there any other new artists that you’d recommend we check out at the moment?
My favourite band from Manchester is Ether Mech. They’re fronted by my friend Vivian, a trans woman I look up to and one of the first people I met when I moved to Manchester. I also love Mould, their new stuff is incredible and they’re so good live. I really enjoyed The Pill and Fuzz Lightyear’s sets at the Old Blue Last show also!

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I’m really looking forward to touring this year but I am feeling worried about doing it without my daughter Yulia. If anyone is able to, please donate to her Solidarity Fund to help us support her in prison, visit her, and help her get back on her feet when she is out. You can donate here.

Huge thanks to Jasmine for answering our questions, and please do consider donating to help Yulia.


You Are The Morning, the debut album from Jasmine.4.t is out now via Saddest Factory Records. Listen / buy now.

mariangelicalaneLeave a comment

GIHE: Albums & EPs of 2024

After sharing our Tracks Of 2024 last week, the Get In Her Ears team want to shine a light on some of the brilliant Albums & EPs that have been released during the last 12 months. These eclectic offerings resonated with us and we’ll be talking about them long into the future. Huge thanks to all of the bands and artists who submitted music to us this year. 

In alphabetical order…here are our top Albums & EPs of 2024 (including multiple Honorable Mentions at the end because we hate leaving people out…)

ALBUMS

Beckon – Between the Bridge And The Tree

Having been a big fan of bands like Suggested Friends and Chorusgirl, I’ve been following songwriter and musician Faith MacNeil Taylor for a number of years now and always find myself completely immersed in each of their heartfelt creations. This year, with new project Beckon (FKA Athabaska), Faith has collaborated with a group of five other wonderful musicians to create queer alt-folk anthems. We were lucky enough to have them play for us at one of our gigs at The Shacklewell Arms back in March and I was utterly spellbound, so I knew I would like new album Between The Bridge and The Tree. But it really is quite something quite special. Alongside Faith’s distinctive exquisite emotion-rich vocals, lilting folk-strewn melodies flow throughout with a raw heartfelt grace; a truly stirring creation of resonant offerings. Between The Bridge And The Tree was released in October.
(Mari Lane – Managing Editor)

BERRIES – BERRIES

BERRIES’ much-anticipated album captures the electrifying energy of their live performances, with a set of well-crafted songs by some very skilled musicians. Their signature guitar riffs shine throughout, paired with pounding, energetic drums and commanding basslines that keep the tracks driving forward. The tracks combine catchy melodies, dynamic musicality and at times, a satisfying thick wall of sound, bringing to mind early 2000s indie bands like The Strokes and Yeah Yeah Yeahs as well as garage rock influences, resulting in a sound that feels both nostalgic and modern. The album is also balanced with some quieter and delicate moments like ‘Balance’ – the album’s single acoustic track. Overall, this is an album that expertly builds tension, keeping listeners captivated from start to finish.
(Ella Patenall – GIHE Contributor)

Brimheim – RATKING

Multi-instrumentalist Helena Heinesen Rebensdorff finds strength in self scrutiny on her excellent second album, RATKING. Released at the end of March, the LP is just as raw as the Danish-Faroese artist’s debut offering, can’t hate myself into a different shape (2022), but on RATKING, she vivaciously embraces remnants of shame, hyper-sensitivity and unrequited love and sets them to a more melodic, pop-tinged backdrop. The result is a witty, cathartic reflection on the contradictions of love, underscored by her audaciously dark humour.

Whether it’s the fully fleshed band sound and distinctive instrumentation on tracks like ‘Dancing In The Rubble’ and ‘Keep Bleeding Diamonds’, the infectious pop melodies on singles ‘Literally Everything’, ‘Brand New Woman’ and ‘Normies’, or the sonically more expansive tracks like ‘No Liver, No Lungs’ and ‘Surgeon’, Brimheim and esteemed producer Søren Buhl Lassen (Blaue Blume) have crafted an eclectic and exhilarating collection of lush alt-pop anthems. Watching Brimheim perform her new album at The Lexington earlier this year was a live highlight for me too. Her confidence in her artistic vision and revelation that she was almost ready to give up making music just a few years ago was truly inspiring.
(Kate Crudgington – Features Editor)

Elsa Hewitt – Chaos Emeralds

Written and recorded intermittently over the course of four years, electronic artist & producer Elsa Hewitt’s eighth album, Chaos Emeralds, is a deeply evocative listening experience. Her intuitive mix of lilting vocals, hypnotic synth loops and eclectic field recordings have helped reduce the cortisol levels in my body significantly this year.

Her improvisational writing style pulls you into a warm hypnosis, where notions such as ‘Unimaginable Pain’ are transformed into soothing electronic lullabies. Her lyrics were originally poems which she penned separately, blending them with her music at different intervals throughout the creative process. The album’s title – a nod to Sonic The Hedgehog – hints at the paradoxical way in which life presents us with difficulties in order to teach us resilience and recovery. This is something Elsa Hewitt has mastered on many of her previous records, but on this collection of tracks she truly achieves something special. She has been prolific this year and she is currently in the process of teasing her ninth album, Dominant Heartstrings, which is set for release in the near future. (KC)

Fightmilk – No Souvenirs

I’ve made no secret of my super fandom of Fightmilk over the years. I’ve been following them since they first played live for us back in 2018 and now – after having had the honour of them headlining many more of our gigs and being obsessed with their albums Not With That Attitude and Contender – my fandom has only continued to grow with the recent release of this year’s No Souvenirs. Reflecting on themes of getting older, particularly as a woman in music, the album exquisitely showcases the band’s ability to hone their sound, creating perfect punk-pop; angsty and uplifting in equal measure. Instantly catchy singalong anthems, combining their trademark tongue-in-cheek wit with a swirling energy and gritty raw emotion.

From fuzzy sentimentality to fierce tirades against patriarchal society, No Souvenirs is a perfect culmination of how Fightmilk have continued to refine their sound. With shades of noughties punk-pop, combined with an injection of fresh queer joy and raging emotion, it’s at once cathartic, validating and empowering. But, most importantly, fun. A sound that’s uniquely Fightmilk; truly distinctive in its colourful charisma, but consistently evolving into something more. No Souvenirs was released in November via Fika Recordings/INH Records. (ML)

Happy Accidents – Edit Undo

I’ve been a mega fan of Happy Accidents since first falling in love with the South London based duo at the late, great Indietracks Festival in 2018, and have been an avid follower of the active roles that both Rich and Phoebe have continued to play in the DIY music scene over the years, including their other musical projects, ME REX and Cheerbleederz. This year, they released their first album in a few years, the gorgeous Edit Undo, which marked a really fantastic return form combining the band’s trademark jangly hooks and emotion-rich twinkling harmonies with additional experimental, electronic soundscapes. I was lucky enough to catch their first live show in five years at Paper Dress Vintage in September, and it was a really special evening. Plus, Phoebe is also responsible for one of my other highlights of the year – learning drums at a First Timers Festival workshop with GIHE pal Kate. She was a really wonderful teacher, and inspired me to continue learning! Edit Undo was out in September via Alcopop! Records. (ML)

HAVVK – To Fall Asleep

Inspired by the complicated nature of sleep and bassist & vocalist Julie Hawks’s own experiences of insomnia, HAVVK’s third album, To Fall Asleep (released via VETA Records) is an urgent, cathartic listen that beguiles the senses and rattles the nerves in equal measure. The Irish alt-rock trio have been favourites of ours since they played our debut GIHE gig at The Finsbury pub back in 2016, and it’s been a privilege to watch them develop as a band over the last eight years.

Formed of front person Julie, guitarist Matthew Harris and former Bitch Falcon drummer Nigel Kenny, on To Fall Asleep, HAVVK interrogate the things that keep us awake at night. Whether they’re charging ahead on tracks like ‘Expiry’ – a vital anthem about the gendered double standards of ageing – or ruminating on anxiety on ‘Waste Of Time’, they create stirring, emotionally charged tracks that resonate long after the record has stopped spinning. It was a real pleasure to hear the band play some of their new tracks live this year when they headlined our GIHE gig at The Shacklewell Arms in March. (KC)

Jæd – I Loved The Gauntlet And There Was No Other Way

London-based, Irish-Puerto Rican musician Jæd played a GIHE gig for us in October 2022 supporting Pixie Cut Rhythm Orchestra and we were all blown away by her unique talent. Her stage presence, dynamic vocal range and virtuoso guitar playing have all translated beautifully into the tracks that form her debut album, I Loved The Gauntlet And There Was No Other Way, released via cult Irish label The Delphi Label. The record is an eclectic cacophony of guitar sounds inspired by the uncertainty and hardship that Jæd has lived through, and it’s a testament to the endurance of her creative spirit. ‘Very Fond’ is my personal favourite, but every song on the album is a gem. (KC)

Midwife – No Depression In Heaven

On her fourth LP, No Depression In Heaven, Colorado based musician and producer Madeline Johnston aka Midwife pays tribute to life on the road, reflecting on the eccentricities of a transient existence and the characters that colour the views between locations on the map. Her ambient shoegaze sounds pacify the pain of the grief that informed many of the tracks. Whether it’s an ode to her trusty tour vehicle on ‘Vanessa’ or a cover of ‘Better Off Alone’ which was originally released in 1999 by European popstar Alice Deejay, Midwife treats these things with equal parts grace and grit. No Depression in Heaven is a beautiful body of work full of her poetic lyrical motifs and hazy lullaby-like reverb. (KC)

Our Girl – The Good Kind

Having fallen completely in love with their 2018 debut, Stranger Today, my adoration of London trio Our Girl has only grown with the release of this year’s The Good Kind. Reflecting on poignant themes such as the heartbreak of seeing illness affect someone you love, challenges faced due to gender and sexuality, and the strength that can be found in community, the overarching feeling that permeates whilst listening is a gentle, comforting optimism. Propelled by a whirring energy and brit-pop inspired scuzzy hooks, each track fizzes with a glistening heartfelt emotion as Soph Nathan’s distinctive vocals ripple with an understated powerful grace, creating a deeply resonant shimmering splendour. The Good Kind was released in November via Bella Union. (ML)

Pink Suits – Dystopian Hellscape

Having released their blazing debut, Political Child, back in 2021, Margate duo pink suits released their second album, Dystopian Hellscape, this year. Inspired by the relentless over saturation of bleak news cycles, it loses none of the band’s politically aggressive, anti-Tory, anti-Fascist, Feminist Queer Energy. Exploring the effects that modern society and neoliberal politics can have on our mental health with the duo’s trademark tenacious spirit and raw musicality, it reflects on themes of self-care, grief, gender identity, sexuality and queer joy, showcasing pink suits’ ability to channel frustration into a perfect raging catharsis. In addition to creating these necessary punk anthems, throughout 2024 Lennie and Ray brought tonnes of queer joy performing as a country duo – on tour with Paisley James, at their own completely wonderful Queer Cuntry event at The Southbank Centre, and as part of our GIHE queer country night at Sebright Arms with Dolly Parton tribute band, The Dumb Blondes (more on this coming in our ‘Personal Highlights’ feature). Dystopian Hellscape was released in April. (ML)

Rubie – Seek Sisters

Having been fans of exquisite songstress Rubie for a while now, both as a solo artist and as part of the incredible F*Choir, we were delighted that she released a stunning new album this year. Flowing with a swirling majestic allure, Seek Sisters interweaves quirky jazz-tinged melodies with a soaring musicality and Rubie’s distinctive heartfelt vocals, creating something truly spellbinding; each and every note glistening with an empowering heartfelt grace. We were lucky enough to have Rubie perform the album in full for us at The Divine in November, and it really did feel like such a special night; accompanied by a full band and choir, she completely captivated us all with her shimmering joyous energy and stirring creations. Seek Sisters was released in September. (ML)

Schande – Once Around

Noise-pop-shoegaze-tinged legends and friends of GIHE, Schande, this year released their debut album, Once Around. Following 2019’s EP Pedigree, and having charmed our ears playing live for us a number of times over the last few years, this new release perfectly captures the band’s immersive, shimmering soundscapes. Flowing with a lilting twinkling grace, it truly is a thing of pure beauty as front-person Jen cements herself as a songwriter capable of exquisitely conveying the fragility of life with each rich sonic tapestry, as a resonant raw emotion ripples throughout. Such a dreamy collection of songs that I find impossible to listen to just once, but instead need to play at least twice, or even three times, around in a row! Once Around was released in April 2024 via Thurston and Eva Moore’s record label, The Daydream Library Series. (ML)

Whitelands – Night-bound Eyes Are Blind To The Day

Initially formed from DIY grassroots music initiatives like First Timers Fest and Decolonise Fest, Whitelands are gently dismantling the expectations and stereotypes surrounding the traditionally white-male oriented guitar music scene. Released via iconic shoegaze label Sonic Cathedral, their debut album, Night-Bound Eyes Are Blind To The Day, is a disarming reflection on everything from politics, philosophy (the album title is taken from the book ‘The Prophet’ by Kahlil Gibran) to ADHD, depression and heartbreak.

Vocalist and guitarist Etienne’s songwriting is deeply poetic, something which becomes more apparent when you read the accompanying lyric sheet on the album’s vinyl insert. His soft floating vocals are accompanied by lead guitarist Michael’s soaring riffs, drummer Jagun’s driving beats and Vanessa’s brooding bass lines, all of which intermittently push the record into both melancholic and euphoric territory. It was wonderful to have Whitelands with us in the studio for our Soho Radio show in February this year talking about their debut record. Having caught them live at Hammersmith Apollo and EARTH supporting Slowdive, as well as at Cro Cro Land and their album launch show at Rough Trade East, Whitelands have provided some of my favourite musical memories of 2024, both live and on record. (KC)

EPs

all cats are beautiful – Just Kids

In 2021, London based duo All Cats Are Beautiful released their gorgeous mini album The Things We Made. However, playing gigs and writing new songs then fell to the back burner when Ky from the band’s partner of ten years suddenly tragically passed away that same year. Now, three years on, Ky and Elena finally felt ready to share new music with their EP Just Kids; a heart achingly poignant reflection on love and loss. Delving into stark reflections on the pain that comes with losing someone that you love so intensely, the EP glistens with a raw vulnerability and emotion alongside its twinkling electro soundscapes, creating a truly beautifully cathartic and honest collection. The band perfectly summarise – “grief is just love with no place to go.” Just Kids was released in October via Peach Records. (ML)

Piney Gir – Cosmic Upside Down 

This year prolific artist (and self-proclaimed witch) Kansas-born Piney Gir released her new EP, Cosmic Upside Down. Propelled by a twinkling, lilting energy and Piney’s distinctive lush honeysweet vocals, each track on the EP oozes a sparkling immersive splendour. Whilst its spiritual roots remain evident throughout, it also touches on themes ranging from climate change to feminism; offering a stirring yet uplifting reflection on the world today. In addition to the EP release, 2024 also marked twenty years since Piney shared her first album, Peakahokahoo, and to celebrate we helped her promote a special 20th anniversary gig at The Lexington with a superstar line-up of Anat Ben-David (Chicks On Speed) and Psycho Delia (Robots In Disguise) – a really dreamy evening! Cosmic Upside Down was released in August via No Distance Records. (ML)

SPIDER – object of desire

I’ve been watching Irish alt-pop artist SPIDER grow since the release of her debut single ‘Water Sign’ in 2021, and it’s been a joy to see her talents recognised in the alternative rock scene this year. Her third EP, object of desire, is bursting with riotous, angst-ridden tunes about coming-of-age in an antagonistic world that tries to dictate this deeply personal process. The title track is a formidable anthem that perfectly outlines all that SPIDER is capable of as an artist; her clear intonation, candid lyricism and loud-and-quiet grunge and pop punk dynamics are showcased perfectly. It was a privilege to watch her perform AT her debut London headline show at The Camden Assembly earlier this year. Read my full review here. (KC)

Softcult – Heaven

Marking a heavier development in their sound, Heaven is the fourth EP from Canadian twin sibling duo Softcult. By blending shoegaze sensibilities with dream-pop melodies and Riot Grrrl politics, Mercedes and Phoenix Arn-Horn tackle the pressures of existing in patriarchal society, the breakdown of platonic and romantic relationships and the fluctuating nature of mental health. Heaven is a cohesive, considered record that offers respite through heavy reverb and gloomy vocals, which the pair have perfected on this latest offering. Guitarist & vocalist Mercedes spoke eloquently about the inspirations behind the EP in an interview with me earlier this year. Read the full feature here. (KC)

Queen Of Nothing – The Pull

Recorded to tape at Middle Farm Studios with acclaimed producer Peter Miles (Torres, Orla Gartland and Dodie) independent alt-folk artist Abi Crisp aka Queen Of Nothing released her debut EP, The Pull, in November this year. It’s an atmospheric, brooding reflection on what it feels like to let go of heartbreak, uncertainty and fear and emerge as a truer version of ones self. I love her blend of shimmering and gritty guitar tones, tender vocals and dramatic volume shifts, which are epitomised on my favourite track ‘How Does It Feel’. (KC)

Honourable Mentions

Alien Chicks – Indulging The Mobs (EP)
ARXX – Good Boy
The Baby Seals – Chaos
Charley Stone – Here Comes The Actual Band
Chelsea Wolfe – She Reaches Out To She Reaches Out To She
Cherym – Take It Or Leave It
Coolgirl – Road Closures
Fears – affinity
Fraulein – Sink Or Swim
Julia-Sophie – forgive too slow
King Hannah – Big Swimmer
Los Bitchos – Talkie Talkie
Mammoth Penguins – Here
NikNak – Ireti
PostLast – Pull Me Into The Open Sea (EP)
Sassyhiya – Take You Somewhere
SOPHIE – SOPHIE
WISP – Pandora (EP)

Get In Her EarsLeave a comment

GIHE: Tracks Of 2024

With another hard-going year behind us, we’ve continued to seek comfort in new music released by our favourite hard-working and talented artists. There’s been an immense amount of incredible new music released, so we want to shed some light on some of the tunes that got us through the hard times, accompanied the good times & generally saw us through 2024.

To start our annual end of year round-ups, we’re sharing our ‘Tracks Of 2024’ ahead of features on our favourite albums, ‘Personal Highlights’ and ‘Ones To Watch 2025’. Have a read about some of the tunes we’ve been loving the most, and make sure you hit play on the accompanying playlist to hear just how fantastic they all are! Then, please do follow the artists you love on all platforms – download their music, buy their merch, go see them live and continue to spread the word about how wonderful they are!

ARXX – ‘Crying In The Carwash’
Here at GIHE we make no secret of our immense adoration for the Brighton duo. And this year has been a pretty wonderful one for Hanni and Clara – we could not be happier for them doing so well and living their dreams. They’ve released an incredible album, played Glasto, been on tour with Fletcher and sold out a load of dates on their own headline tour of Europe. Kate and I were lucky enough to catch them at Lafayette last month, and it was such an uplifting and emotional night – they put on a fantastic show, and just seem to get more and more incredible every time we see them. We can’t wait to see what 2025 brings for these faves. Good Boy, the latest album from ARXX, is out now via Submarine Cat Records.
(Mari Lane – Managing Editor)

Circe – ‘Blue Love’
I have been OBSESSED with this song from dark-pop artist and GIHE fave Circe since she released it in March. ‘Blue Love’ is intense, candid and sultry – a BIG FEELINGS anthem that sets my cells alight every time I hear it. Circe described this offering as “Karen O produced by The Cure during their Disintegration era” and I wholeheartedly agree. ‘Blue Love’ is all about being love bombed and dealing with fuckboys, swirling in the ashes of disappointment and rising from them in defiance. I can’t get enough of it and it was a pleasure to hear it live when Circe played it at Camden’s Electric Ballroom when she supported The Midnight. Full review of the show here. 
(Kate Crudgington – Features Editor)

Tom Rasmussen ft. Romy – Never Look Back
A definite highlight of 2024 for me was seeing Tom Rasmussen finish their UK tour at KOKO, it was an incredible show and you really felt it. I also got to see Romy play at Drumsheds for the False Idols event in November, and my knees are still not back to normal. I just could not stop dancing.
(Tash Walker – Digital Editor)

Freak Slug – ‘Spells’
Freak Slug, aka Manchester artist Xenya Genovese, has definitely been one of my favourite new discoveries of 2024. Having released her debut album, I Blow Out Big Candles, in November, her music combines her glistening sultry allure with a fizzing quirky energy, and this track is an instant earworm that had me hooked on Freak Slug the first time I heard it. I’m hoping to finally catch this exciting new artist live at Moth Club on 22nd May next year. You can nab your own tickets for her Spring tour here. (ML)

Tusks – ‘Adore’
I love this evocative single from London-based electronic artist Tusks. It’s lifted from her her third album, Gold, which she released in April via One Little Independent Records. Inspired by a variety of contrasting experiences and emotions, the record is a dynamic, intricate musing on the shifting nature of love, time and change. (KC)

Blonde Maze – ‘Beside You’
I’m not sure a year goes by that I don’t include New York artist Blonde Maze on my highlights of the year, and there’s a reason for that. She continues to make truly exquisite soundscapes that never fail to soothe and captivate, and this single from March this year is no exception. There is just something about the twinkling grace, swirling energy and blissful uplifting energy that I find completely immersive and utterly cathartic. Having been a mega fan since she was one of the first guests on our radio show nearly ten years ago, I’m so grateful to all that Blonde Maze creates; euphoric sonic journeys to ease the stresses of every day life. (ML)

Ideal Host – ‘Dust Collector’
Created during a four day residency in a converted water mill in Llangollen in Wales, this single from indie band Ideal Host is their poppiest offering to date. I love the way Heather’s soft vocals blend seamlessly with the band’s buoyant riffs, lilting electronics and catchy beats. (KC)

Fears – ‘4th of the 1st’
This single from Dublin-born, London-based interdisciplinary artist Fears is a poignant reflection on emotional resilience and self-soothing. Taken from her second album, affinity, which she released in March via her own label TULLE, ‘4th of the 1st’ delicately dismantles the duplicitous and intrusive thoughts that follow in the aftermath of a complicated breakup. I’m a big fan of everything that Fears does and it was lovely to have her back in the studio as a guest on our Soho Radio show again this year. Listen back to our chat here. (KC)

Roller Derby – ‘Dreams’
Hamburg duo Roller Derby are set to release their debut album next year, and this year they’ve shared four gorgeous singles as a taster of the exquisite atmospheric dream-pop that they’re able to create, including the glistening splendour of ‘Dreams’. They headlined for us at the beginning of the year, selling out the Shacklewell Arms with such a beautifully immersive set. And we can’t wait to have them play for us again next May – at The Lexington on the 9th and at The Rossi Bar in Brighton on the 10th. Tickets here. When The Night Comes, the upcoming debut album from Roller Derby, is set for release on 28th February 2025. Pre-order here. (ML)

afromerm – ‘reciprocity’
This single from London-based artist and GIHE favourite afromerm is about the duality of balancing our inner and relational worlds; getting lost in thoughts, versus present, reciprocal care with those we love – a powerful concept that she treats with such grace and gentility. ‘reciprocity’ will feature on her debut three track EP, which is set for release in the near future. I love everything that afromerm creates and I can’t wait to hear more from her. (KC)

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

Dogviolet – ‘Violets’
Having played their first ever gig for us back in 2022!, this year’s ‘Violets’ was the first proper single from Dogviolet. And it was worth the wait. I love the soaring celestial splendour they are able to create and felt honoured to help them promote their special single launch show at The Victoria in October – a night of beautiful music, and beautiful scents, as they’d decorated the venue with purple flowers! I’ve been lucky enough to see them live numerous times this year – as well as their single launch show, they kindly stepped in and played at our gig at New River Studios supporting Kara Delik, I saw them at The Lexington supporting other faves Berries, and they played Croydon festival Cro Cro Land -, and I’m excited to see them many more times in 2025. (ML)

Glixen – ‘Lust’
Arizona-based shoegazers Glixen have been one of my favourite new music discoveries this year. They’ve released a string of excellent singles throughout 2024, but ‘Lust’ is the standout one for me. It’s an intoxicating blend of reverb, crashing cymbals and hypnotic vocals. I’m really looking forward to hearing their new EP, Quiet Pleasures, when it’s released in February next year. (KC)

Pink Milk – ‘You Will Follow Me to Hell’
A gorgeous piece of goth-rock-electronica from Swedish act Pink Milk here. It’s taken from their excellent album, Night On Earth, which is inspired by dystopian science fiction fantasies and marks a heavier, darker new era in sound for the band. Their gloomy, cinematic soundscapes are a real sonic delight. (KC)

Slung – ‘Fire To Burn’
I was gutted to miss Brighton four-piece Slung when they played a GIHE gig in May at Sebright Arms. They’ve released a handful of heavy, brooding singles this year and ‘Fire To Burn’ is my favourite. It’s inspired by witchcraft and more specifically, bassist Vlad’s own ancestor who was regarded as a ‘superwitch’ in her village. She was initially perceived as a healer, but eventually she faced persecution from those who once sought solace in her remedies. I Love Katie Oldham’s vocals on this track, they’re the perfect mix of gritty and theatrical. (KC)

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’, from punks on the rise Lambrini Girls, was one of a string of equally raging singles this year. Showcasing the Brighton band’s fierce racing energy and ferocious sense of urgency, it cements them as a true formidable force to be reckoned with. Having seen them take the music world by storm in 2024, I can’t wait to FINALLY catch Lambrini Girls live at Brixton Electric next April. (ML)

The Menstrual Cramps – ‘Abortion’
“I’ve had an abortion, no I’ve had two / If you don’t like it, then fuck you!” Straight to the point, as always, Bristol faves The Menstrual Cramps shared this raging, honest and utterly necessary pro-choice anthem at the beginning of the year. Written in response to archaic laws being imposed against women who seek abortions, both in the US and here in the UK, it showcases the band’s ability to create a perfect balance of unifying joy and rage that has never felt more urgent. (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 single ‘MOTHS’ inside of one, reflecting the chaotic but ultimately enjoyable nature of modern life. The track is taken from the bands’ debut EP, WHINE // MOTHS – a collection of grinding-yet-gleeful anthems designed to release the pent up frustrations of everyday life. (KC)

Pigeon Dog – ‘Jumpy Cow’
Combining the brooding intensity of grunge with the infectious groove of post-punk, Pigeon Dog’s ‘Jumpy Cow’ is anchored by a funky, driving guitar riff, compelling you to move while immersing you in its shadowy atmosphere. The low, raspy vocals deliver a hauntingly melancholic melody that lingers long after the song ends, leaving you craving another listen. (We caught Pigeon Dog supporting Dogviolet at their single launch show in October – a new favourite for sure!) (Ella Patenall – Contributor)

Hello Mary – ‘0%’
It took me about 10 seconds of listening to ‘0%’ for me to decide that I loved New York trio Hello Mary. This track captures their dynamic blend of grungy riffs, unpredictable beats and defiant vocals perfectly. It features on the band’s second album, Emita Ox, which they released in September. I caught Hello Mary’s set at The Windmill in Brixton and I was equally as impressed by their live rendition of this track. (KC)

adults – ‘Trouble’
South London’s adults have been one of my faves for a few years now and so I was super excited about the return of their trademark jangly melodies and scuzzy energy this year, showcased perfectly in this stirring track. I was lucky enough to catch adults live supporting Fightmilk (more on them later) with Tugboat Captain at Paper Dress Vintage last month – a pretty dreamy night of live music. ‘Trouble’ is taken from …In The Big League, a split EP from adults and Oxford band Spank Hair, which is out now via Fika Recordings. And I’ve heard that there will be plenty of new music to come in 2025 – I can’t wait. (ML)

Sacred Paws – ‘Another Day’
After a five year hiatus, we were excited that London / Glasgow duo Sacred Paws returned to our ears last month. We love everything that Ray Aggs does; we were honoured to have them headline one of our gigs earlier this year, and the revival of this project with Eilidh Rogers came as a very welcome surprise. Flowing with the duo’s trademark lilting and uplifting energy and distinctive sparkling harmonies, ‘Another Day’ introduces a heartfelt folk-strewn sound with the inclusion of banjo played by Ray’s father. Apparently there’s more new music on the way next year, and we cannot wait! (ML)

Dream Phone – ‘Fogo’
Having been utterly brilliant supporting Ray Aggs for us back in April, Oxford duo Dream Phone are one of my favourite new discoveries of the last couple of years. With its playful riot grrrl-inspired spirit, ‘fogo’ showcases all there is to love about them; listening to its scuzzy layers of shimmering musicality, I feel instantly uplifted by its infectious quirky allure and blissfully danceable energy. Watch the accompanying homemade video for ‘fogo’ here and make sure you catch Dream Phone live as soon as possible! (ML)

Zamilska ft. huskie – ‘Odyssey’
I’ve been following Polish electronic artist Zamilska through GIHE for a while now, and she never fails to impress me with her eclectic soundscapes. This track ‘Odyssey’ features on her album, United Kingdom Of Anxiety, which she released in October via Untuned Records (her own label). It’s an intoxicating post-apocalyptic tinged record that totally enraptures the senses. Zamilska also supported Kim Gordon on her European tour this year. I hope 2025 is just as prosperous for her. (KC)

NikNak ft. AGAAMA – ‘Pandora’s Box’
An absolute A-STAR collaboration here between experimental producer & DJ NikNak and electronic artist & songwriter AGAAMA. ‘Pandora’s Box’ is lifted from NikNak’s album, Ireti, which she released in May via Accidental Records. I was so excited to hear new music from AGAAMA too, who’s EP, Wandering Worlds, was a favourite of mine back in 2022. Check out the accompanying Sci-Fi/AI inspired visuals for ‘Pandora’s Box’ here. (KC)

Huge thanks to all the artists and bands creating the wonderful tunes that have got us through this year! Listen to our Tracks Of 2024 playlist now, and please be sure to check them out and support their work (listen/download/buy in places other than Spotify)!

And keep an eye out for our Albums & EPs Of The Year, 2024 Highlights & Ones To Watch for 2025…

.

Get In Her EarsLeave a comment

INTERVIEW: Aisha Badru

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

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

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

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

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

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

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

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

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

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

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

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

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

Huge thanks to Aisha Badru for speaking to us!


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

mariangelicalaneLeave a comment