#sheherrecords

Introducing pseudo-antigone Track: gracia https://sheher.bandcamp.com/track/pseudo-antigone-gracia

Describe something that happened this year that inspired you to make music.

“With my latest release, Melancholic Melodrama, everything from struggles around personal self-definition, artistic ambition, isolation, and heartbreak went into making that album. In it, and anything I’ve made since, I’ve leaned on curiosity and sonic exploration to make a personal idiom to articulate myself therein.”

How has the changing political landscape the last 12 months impacted you personally?

“I live in Alberta, Canada. This notably conservative province has targeted trans youth and trans women through the policies of premier Danielle Smith and the United Conservative Party. Other policies single out immigrants like myself, which I cannot help but see as threatening under the shadow of the U.S.’s I.C.E.”

If your track were another great work of art, what would it be & why?

Introducing uncertain - hymns for the black stag

uncertain is the post-industrial music project of Buffalo-based visual artist Florian-Seraphim Fauna. Her work blends ambient, noise, and heavy electronic elements with esoteric and religious themes, reflecting her experiences and identity.

Interview //

When did you start making music and what did that look like at the time?

I started when I was around 12, recording odd sounds with tape machines and webcam microphones as that's all I could work with at the time. A lot of my work in my earlier years especially as 'uncertain' involved almost maximalist layering also overtime. For a while, my work mostly revolved taking recordings and samples of things such as animals and nature and altering them through various means.

How has the process transformed over time and what inspired that change?

Overall thoughts around my general artistic direction have played a large role in my output, often going from deep, ethereal work to something more violent and visceral. A lot of the changes in my music involve processing the eternal struggles of being trans, disabled, etc. in different ways. Things like equipment, software, availability of certain sounds certainly play a role as well. I have also been experimenting with a wider range of genres as well, incorporating more synthesizers over time.

How has your trans identity impacted your music practice (if at all)?

Largely in an emotional sense, I feel that my transness has largely influenced my music via taking it to further, greater extremes so to speak. After much of the rise of current transphobia and fascism in the United States, I felt compelled to make music as a violent reaction to a violent state.

Who do you make music for?

Essentially, anyone who needs it. In essence, I hope that a lot of my artwork and music functions as a channel for catharsis, even if in a small way. I truly hope that my music leaves an impression on those going through any similar struggles as mine.

In three words, what can we expect from your track on the compilation?

Violent Animal Screaming

Official Sites & Socials

https://www.instagram.com/seraphim777s

We are proud to announce that KAAMOS, the second full-length album from SARCOMA, is out today! https://album.link/sarcoma-kaamos

KAAMOS marks a stark and fearless evolution in SARCOMA’s sound — descending into the bleak sonic landscapes of death industrial and classic power electronics.Written and recorded in the depths of winter, KAAMOS is an unflinching reflection on SARCOMA’s time in Finland, limerence, borderline personality disorder, and the isolating weight of dysphoria. Saturated with dense textures, haunting samples, and visceral emotional urgency, the album is described by the artist as “a breakup with her EBM phase.”

Following her contribution to TDoV Compilation 1, KAAMOS stands as SARCOMA’s first solo release on She/Her Records.

Introducing Immi Midi - GTHGRL

Immi Midi is an experimental pop artist from North Wales. Her music is known for introspective songwriting, emotional depth, and genre-defying energy.

Interview //

When did you start making music and what did that look like at the time?

I've been releasing music under various guises and in bands for ages but I only started to take it seriously in 2015ish. My first project was called Quetzalcoatalus and it was experimental synthpop and had not connectivity between songs was truly stream of consciousness.

How has the process transformed over time and what inspired that change?

I think time inspired the change I got better at what I was doing I looked at what other people where doing and borrowed some techniques and remembered that I was very good with a guitar compared to being very average with the keys.

How has your trans identity impacted your music practice (if at all)?

I don't think it has, I mention it in lyrics sometimes bit I don't think it has affected my practice, my success? Potentially - but that's a different and sad conversation.

Who do you make music for?

Myself, I make music because otherwise my ideas, thoughts, feelings and the like would drive me absolutely fucking mental.

In three words, how would you describe your track on the compilation?

Replies Creeps Deserve

She/Her Records is proud to present The One with the Eyeliner, the latest album from UK singer, songwriter & musician IMMI MIDI, arriving today on all major platforms (except for Spotify). Influenced by artists like Robert Smith and Pet Shop Boys, IMMI blends gothic pop sensibilities with sharp storytelling, dry humour and unflinching emotional honesty.

Part confessional, part character study, and occasionally completely ridiculous, The One with the Eyeliner introduces IMMI as a songwriter unafraid of emotional extremes. Across eight tracks she moves effortlessly between heartbreak, insomnia, gender dysphoria, internet misogyny, self-deprecating humour and unapologetic joy. It's an album where intensely personal songs sit comfortably alongside a country pastiche about being "on some cowgirl shit" because, as IMMI puts it, "you've got to have an ebb and flow. If you don't have any levity, then it becomes [too] deep and hard to listen to."

In The One with the Eyeliner, IMMI assembles a group of songs she says, “felt most like [herself]”. Written over several years and spanning different chapters of her life, some tracks predate her transition, others were written during some of the most difficult periods of her life, but together they crystallize to form a strikingly clear portrait of the artist behind the eyeliner. In line with this gesture of self-representation, the album takes its name from how customers and coworkers at her retail job often referred to IMMI.

That emotional honesty runs throughout the record. "Births Metro" (the title itself an anagram of “Robert Smith”) transforms a breakup conversation overheard on a train into a painfully intimate portrait of love and desperation, while "Story of a Lie" confronts betrayal with increasingly visceral imagery. "Fading Softly Never Sleeping Psychic Waves of Pain" captures the exhausting spiral of anxiety and insomnia, and "I'm Having Fun (The Dysphoria Song)" documents a period where, in IMMI's own words, "the only thing that could get me feeling things was crying."

Not every song arrives from lived experience. IMMI describes herself as a performer first and foremost, often building songs around characters or stories that emerge from the music. Her compositions begin almost entirely instrumentally before any lyrics are written, with melodies guiding the emotional direction long before words appear. "The track is almost finished," she explains, "then I hit record and whatever comes out, comes out."

That instinct for storytelling also fuels "GTH GRL", one of the album's sharpest moments. Built from actual unsolicited messages IMMI received online, the song rejects the fetishisation of queer and trans women with wit, anger and a chorus impossible to forget. As she explains, "I genuinely used to have a folder on my phone of just screenshots of weird shit people sent me... I thought, there is a song in here somewhere."

We are proud to announce SARCOMA’s third LP, DANCEFLOORREACTION, to be released on She/Her on May 15th.

DANCEFLOORREACTION, seethes with surgically precise reflections on love, power, and the conditions that shape both. Following the already iconic and borderline irony of NOT CROSSES (2024) and KAAMOS (2025), Luna pushes further into a uniquely extractive understanding of the cost of loving and being loved, informed by what Monique Wittig called "The Straight Mind” Love here is not a clean kill or a quick death. It is slow, brutal horror that leaves you suspended in bloody aftermath, soaked in selfish desire and gendered expectations.

Introducing Alien Flower Track: Cibo https://sheher.bandcamp.com/track/alien-flower-cibo

Describe something that happened this year that inspired you to make music.

“It’s a simple question that’s oddly hard to answer. For me, music feels outside of time. There’s no clear beginning or trigger. It’s always been there, like something built into me. Sometimes I use it to reconnect with myself when I feel lost, sometimes to feel worthy of love or seen by others, sometimes to escape being human, and other times to confront that reality. Because of all this, making music feels unavoidable.

What I’ve realized this year is that I also love what comes from making music. Connection, community, and a sense of belonging. I enjoy solitude, but not isolation. I guess I’m a bit like a cat in that way.”

How has the changing political landscape the last 12 months impacted you personally?

“It’s been mentally exhausting. Watching the global rise of far-right movements and coordinated propaganda is deeply disturbing. It feels like things keep getting worse, with money and power increasingly shaping politics. The dishonesty is overwhelming and hard to ignore.

What frustrates me most is how this chaos feels manufactured, like anger is being deliberately stirred up so people turn against each other while those in power tighten control. It’s unsettling to see how effective that is.

On top of that, ongoing atrocities, like the violence in Gaza and Sudan, make the world feel unbearably heavy. There’s so much suffering that simply existing can feel overwhelming.”

If your track were another great work of art, what would it be & why?