The New Eves: “We genuinely strive to avoid categorizing ourselves into any particular box or genre.”

"I believe it can be overly simplistic and at times somewhat condescending when someone refers to us as a 'feminist band,'" Nina Winder-Lind expresses. Their sound and aesthetic are influenced by more than just music. “Knitting plays a significant role in The New Eves, actually! It’s exciting that these traditionally feminine crafts, which aren’t typically regarded as ‘art’, are gaining more appreciation now,” Nina shares. “When you visit a car boot sale and see worn lace in a cardboard box, you realize 'someone created that—likely a woman', which is remarkable.” Thus, whether it’s photography, painting, or their customized, cottagecore-inspired clothing, the group values a variety of artistic forms equally. As these practices are integral to their identities, Kate explains, “it would be difficult to exclude them from what we’re doing.” With many of the band’s visuals set against picturesque, quintessentially British landscapes, it feels fitting that they chose the iconic Rockfield Studios in the rural Wye Valley to record a majority of their debut album. “We weren’t in London, and the environment was quiet. If you needed solitude, you could head up into the hills,” Nina recalls. “We each had our own rooms with our own bathtubs—it was amazing.” Those who have experienced The New Eves live will likely agree that the final recordings closely mirror their live performances—something Nina emphasizes was “very important for us.” She continues, “That’s when the magic really happens—when we play together in a room.” Whether reveling in the intense, gritty energy of ‘Highway Man’, or getting lost in the droning strings and primal chants of ‘Astrolabe’, the journey to the band’s enigmatic essence truly begins with the album’s impactful opener and quasi-title track, ‘The New Eve’. The song challenges religious, societal, and gender norms with compelling poetic fervor, serving as a goosebump-inducing entry into their realm. “There are middle-aged men who have had a profound experience listening to that song,” Nina shares. “It unfolded in a mystical way: I created a painting titled ‘The New Eve Is Rising’, then a bit later I wrote that poem, and eventually we crafted the song.” The striking boldness of these lyrical expressions, especially in the context of the band’s all-female composition, has led many to label The New Eves as ‘feminist’. However, they clarify that their connection to the term is significantly more intricate and expansive than the label suggests. “It’s similar to being called a ‘female band’,” Nina explains. “I find it overly simplifying and sometimes a bit patronizing when someone says ‘oh, you’re a feminist band’. We require a different vocabulary around these concepts. Currently, we have terms like ‘feminism’ and ‘female’, which are still prevalent in our language, but I feel a shift happening. We’re on the brink of something new.” The past year has been a whirlwind for the group, from signing with Transgressive Records to securing supporting slots for Black Country, New Road and YHWH Nailgun. “It’s been wild—we haven’t really had time to reflect and feel proud, as it’s been so hectic,” Nina confesses. While things are moving at a rapid pace currently, The New Eves undoubtedly leave a lasting impression on their audiences—one that they hope will motivate people to “experience something they haven’t felt before and take actions they haven’t taken before.”