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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INTERVIEW: Happy Accidents

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 including ME REX and Cheerbleederz. So, I was super excited to hear that they’ve now announced that they’ll be releasing a new album at the end of this month, and playing their first live show in five years tomorrow!

Ahead of the imminent gig and album release, I had a little chat with Phoebe from the band about what inspires them, how their recording process has evolved, the ‘secret world’ around the new album, the struggles of being a new artist in the industry at the moment, and more… Have a read, and make sure you pre-order Edit Undo now!

Hi Happy Accidents, welcome to Get In Her Ears! How are you both doing today?
Really good thanks! Getting ready for our first show in ages (tomorrow 3rd September at Paper Dress Vintage) which is super exciting. 

You’ve been making music together for about ten years now – are you able to tell us a little bit about how you initially met and decided to start creating together? 
We were connected through our mutual pal Connor who I was playing in a band with at the time in Southampton. We all started playing gigs together pretty soon after that, along with Rich’s brother Neil. There was a pretty good DIY scene at the time there and we got to play and meet bands like Muncie Girls and Great Cynics, got inspired by so many lovely people and the rest is history! 

I’m such a fan of your lush jangly sounds and the heartfelt emotion that flows throughout your songs. So, I just wondered if there’s anything or anyone that you’re particularly inspired by when writing your gorgeous music?
Thank you so much! We listen to so many artists between us and we were talking the other day about what links them, and we think it’s that raw expressiveness and clear love of their craft – you can tell they’d be making their music no matter what. That really inspires us when we’re writing – channelling our faves and figuring out what we want to make that day. Some songs never make it out, but the process of writing and recording them still gets us to good places; questioning what we want things to sound like and how we want them to evolve. And just what we think sounds cool! 

Your brand new album Edit Undo is set for release at the end of the month, which is super exciting – I can’t wait! Can you tell us about the inspirations behind the album, and if there are any themes running through it? 
We wrote and recorded as we went, over a period of nearly a year and – as a result – themes sort of developed on their own, rather than us having any preconceived ideas. But, if we had to narrow it down maybe we could include things like:

  • Finding the important things that make your life worth living, especially amongst all the awful things we hear about in the news on a daily basis.
  • Realising everyone sees things differently, and all the contrasting ways events can be interpreted.
  • Choice paralysis and deciding what your values are, especially as you get a little older and feel like you’re at a cross-road; realising you can’t plan anything, so don’t worry about it.

And how would you say the process of recording it has differed from your previous releases? 
It’s probably the most experimental and laid back we’ve been! We didn’t rehearse or plan anything really – everything was just exploring in the studio, which we’re lucky to be able to do because Rich can record it and so the costs are a lot lower. When we were making our first few records, we were recording in different cities and doing something like ten days in a row, and so naturally we’d need to be really prepared for that; there would be a lot of planning, rehearsing, tweaking, demoing etc. This album couldn’t have been more different! It just sort of formed itself because we gave it the time and space to do so. It feels more like our lives, rather than something we made, which is a good feeling.

In the run up to the album’s release, you’ve introduced a ‘secret world’ around it with special releases and features only accessible to fans who’ve pre-ordered the record or searched for the hidden artist page. Can you tell us more about this and the reasons for doing it? 
With the last few releases we’ve done, we’ve just put it out online within two weeks, but this time it felt right to let it breathe a bit. We are always interested in finding ways that we can do things a bit differently. Also, streaming is a bit of a bin fire, and often nowadays it feels like you make art to put up an Instagram post, and then it disappears within a week. To us, it felt like a good way to incentivise getting a bit more involved, and have layers for those who want it. If you pre-order the album you get added to a mailing list where we’ve set up a sort of alternate timeline for the album that all takes place in the 1800s. There are more singles, alternate versions, and you also get the whole album on a secret streaming page a month early. We could have just sent the files out, but it felt like a more engaging way of releasing music that also incorporates how most people listen nowadays. Thanks to everyone who’s got involved with it! It felt like an opportunity to make releasing music fun, and building a world around things has always felt important to us.

To celebrate the album, you’re playing a release show on tomorrow, 3rd September, at Paper Dress Vintage (already got my ticket – I can’t wait!) – this’ll be your first live gig as a band in about five years, so it must feel extra special! How are you feeling about this? And what can fans expect from the show? 
Honestly just so excited! We’ve got our friend Kris who also plays in Lazy Day’s band on bass, and we’re relieved people are coming. We’ll be doing a mix of songs, some oldies and obviously a bunch of new ones. There are some songs that we put out years ago but never got the chance to play live before the pandemic, so that’ll be fun. Paper Dress Vintage is quite a homely venue to do it in too, and Myles is opening with a ME REX solo set – we’re genuinely looking forward to seeing a ME REX set from the crowd! 

You’ve played loads of amazing gigs over the years, touring with the likes of Muncie Girls and Fresh, and playing festivals such as 2000 Trees and Truck Festival (and I remember a particularly lovely set at Indietracks in 2018 – RIP to the best festival!). But is there a particular show you’ve played that stands out as a highlight, or as particularly memorable?
That Indietracks one is definitely up there for sure – it was where we got everyone to boo us, which is a core memory. Such a shame it’s not going anymore but we’re so grateful we got to do it! Our first album release show at Urban Bar with Colour Me Wednesday, Fresh and ME REX was great; both our Mums came and it was funny seeing them outside afterwards, all sweaty and hanging with our friends. We’ve played some weird ones too… In converted Frankfurt prisons, all sorts of German squats, been caught in snow storms – all sorts of stuff!

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?
Aside from all the obvious (earplugs, sharpies), maybe water? Portable coffee cups! Maybe Berocca?

As we’re an organisation with a focus on supporting new artists, I just wondered how you feel the industry is for new artists at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
It’s probably harder than ever to be a new artist; so much of the infrastructure that existed for us when we started no longer exists. Press and radio aren’t what they were, there’s so many less promoters, everything’s about five times the cost that it used to be. It’s really grim out there! But I mean those who are putting on shows, playing new bands and supporting new music are more important than ever – so that’s very much appreciated. When we were starting, it felt like Phoebe playing drums was a real rarity, and that’s not the case any more at all – so representation is definitely getting better, partly thanks to grassroots organisations like Girls Rock London, Come Play with Me, and loads more. Change is possible, but then there’s still a lot of work to do. What good is getting through the door, if there is no real structure to facilitate a career in music after that point? At this point, we very much know that playing music isn’t going to pay our bills, but it would be nice if future generations didn’t have it getting increasingly worse year on year.

And are there any other new bands or artists that you’d recommend we check out?
You probably know them! We love the band adults. We’re also looking forward to the Trust Fund album. Lazy Day is great and they have a new album coming out. cheerbleederz are good eggs, and ME REX also good… !

And, finally, following the album release next month, what do Happy Accidents have in store for the rest of the year?
We don’t really know! We’re recording more music at the moment! Our other band ME REX is going on tour with Los Campesinos which will be fun. Maybe there’ll be more HapAx shows…? It feels like we’ve done way too much practising to just play the one!
Thanks for talking to us, we really appreciate the work you do!!

And we really appreciate all that Happy Accidents do, and the gorgeous music they continue to create. Massive thanks to Phoebe for answering our questions!

Edit Undo, the upcoming new album from Happy Accidents, is set for release on 27th September via Alcopop! Records – pre-order here. Catch Happy Accidents live at Paper Dress Vintage tomorrow, 3rd September – tickets here.

Photo Credit: Benjamin Whitley

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LIVE (Photos): Deer Shed Festival, 2024 (Day 1, 26.07.2024)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to have another dreamy weekend at the North Yorkshire festival last year, I was very glad I got to go again this year. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing, in my opinion! 

Amongst those performing, a fantastic number of female, non binary and queer performers are represented, and I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before.

After our seven and a half hour journey, and settling into our pre-pitched tent (a revelation saving so much time and energy that I will be doing it at every festival going forwards!), we make it to the main stage just in time to catch Liz Lawrence. A GIHE favourite and one of the first ever guests on our radio show, she combines a twinkling emotion with deep funk-fuelled hooks as her distinctive syrupy vocals narrate each reflective offering. From songs such as 2019’s ‘USP’ and ‘None Of My Friends’ to recent single ‘Strut’ (at the request of “the lad that said ‘can you play Strut for my mum?’”), and everything in between, a gritty splendour flows throughout, as the sun shines upon our first taste of live music of the weekend.

Next up, we head to the In The Dock state to witness the fierce power of OneDa. Declaring that “pussy power is a way of life”, she launches into a set of immense hip-hop infused drum ‘n’ bass anthems, all delivered with a ferocious swirling energy and seething passion. 

Following some tasty vegan gyoza, we wander over to The Lodge stage to catch some of the colourful “digital voodoo” of Nana Benz Du Togo. Emanating a majestic grace, as their voices and unique instruments combine to create uplifting anthems like ‘Liberty’ and ‘To Be Free’, their message remains clear throughout: as lyrics like “I wanna make my own decisions” resonate with a stirring poignancy, a deep empowering spirit oozes from the stage. Declaring that “women should be free to be what they want to be”, and describing their aim as being to “recover the place that our mothers lost to the patriarchal society”, Nana Benz deliver a wonderfully invigorating set; uniting the buoyant crowd in a resolute drive for change with a glistening joyous energy. 

To end the night, I swap from my usual position of spectator to ‘artist’… If you can call DJing that. Either way, I was on the In The Dock stage, playing tunes to a tent that ended up being full of people for the Silent Disco. Lurking in the shadows without being noticed is generally more my vibe, so needless to say I was quite nervous about it. But, despite the cursor key on my laptop deciding to stop working at just the wrong time, causing a few clunky ‘mixes’(and with most of my set clashing with Liverpool legends The Coral on the main stage), it was really lovely to see so many people dancing and singing along to the music I was playing. Noticing the number of young people who seemed to be enjoying it – making up dances with their friends and getting excited by certain songs – was particularly heartwarming, and I’m really grateful to have had the opportunity to do it. So, massive thanks and love to Deer Shed for letting me unleash my danceable queer tunes onto the crowd (and hopefully my laptop cursor won’t break next time!).

Stay tuned for photos of, and words about, of Days 2 & 3 at Deer Shed – including some special thoughts about the kids’ activities from next generation GIHE gal Orla….

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @GRNDglass

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WATCH: pink suits – ‘Are You Gay Yet?’

One of the first songs written, but the final single to be released from pink suits’ recent album Dystopian Hellscape, ‘Are You Gay Yet?’ has now been blessed with an accompanying music video, complete with all the riotous style that makes up the band’s signature impact on the punk scene.

The video is set in the kind of classic British pub that will be instantly recognisable to anyone who has ever stopped for a pint in a small town. Union flag bunting is strung up above the bar and a painting of the queen watches over the punters. Other than rather muted blues and greys, the only pop of colour is the golden yellow of very manly beer as the old mate from school chuckles, “Are you gay yet?”

As the music ramps up and the band delivers their response, the video switches gear. With the rallying cry “Am I gay yet? Fuck yes”, the band infuse the drab, simple setting with vibrant energy and colour. They swap out a grey hoodie for a pink mesh tank top and fringed leather waistcoats and leap up onto the karaoke stage. As the song goes on, the crowd joins in, replacing jeans and jumpsuits with bold silk scarves, bright pink cowboy hats and an eclectic assortment of fetish-wear. The camera lingers on different looks, highlighting all the styles and identities that fall under the queer umbrella; making a question as simple as “Are you gay yet?” horribly insufficient in its goal of pinning a label on any individual.

Throughout, neither the setting nor the people change. But the way the band bursts unapologetically into the scene opens a door for everyone there to embrace their own uniqueness and individuality. It hammers home the unavoidable truth that queer people aren’t separate from society, but a fundamental part of it. Whether you see that at a glance or not, the only difference is how much they hide it from you when they’re not sure if you’re safe to come out to. By standing up and being themselves, pink suits take a bland heteronormative room, where it passes as a hilarious joke to suggest someone might be gay, and turn it into the party of the century.

As the video continues, the line “What will the neighbours say?” is delivered from behind a pink latex fetish mask complete with blond braids and a spiked collar. The answer is right there in the room: the neighbours are as wild as anyone else and have been waiting for exactly this permission to show off their authentic selves.

Of the inspiration behind the video, the band explain:

The video was inspired by a real conversation Lennie had in a pub in Manchester with someone they went to school with, as well as an awkward experience doing Karaoke in a bar in a small town in Colorado. The guy hosting the karaoke night had a toy guitar and would play all of the guitar solos, so Lennie did a song and on the solo got on their knees to play the guitar with their mouth and it made the guy absolutely freak out and lose his shit at having a bloke drop to his knees in from of him. It was a very uncomfortable end to the song!”

Watch the joyously empowering new video for ‘Are You Gay Yet?’ now:

Kirstie Summers
@actuallykurt

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