INTRODUCING: DEBBIE SINGS

Berlin-via-Copenhagen singer and producer Debbie Sings returns with Oh My — a raw, chaotic, and fiercely DIY EP arriving February 27th via BIG OIL Recordings. Written, produced, and largely recorded by Debbie herself while moving between bedrooms, buses, cafés, and borrowed studios, Oh My captures a moment of beautiful instability: distorted club drums collide with pop hooks, humour meets confrontation, and imperfection is embraced rather than polished away.

Following the breakout success of her debut album Debbie’s Songs — which topped Soundvenue’s Danish Albums of the Year list — and high-energy live moments including a packed performance at Roskilde Festival, Debbie sharpens her sound here into something more electronic, more punk, and more unapologetically direct. Drawing inspiration from early electroclash and artists like Oklou, Oh My is music for sweaty dancefloors and bedroom floors alike — a soundtrack for chaos, freedom, and letting go.

Ahead of the EP’s release, Debbie shares “Sucker Punch,” a hyperactive blast of distorted synths and raw vocals, and opens up below about independence, messiness, experimentation, and learning to find beauty in chaos.

“Sucker Punch” feels raw, hyperactive, and confrontational. What headspace were you in while writing it, and how did you want that “sick of bullshit” energy to come across sonically?

I was just mainly having fun hahaha and then I liked the word sucker punch. Writing the song, I was thinking a lot about these cartoon fights I watched on tv as a kid. I’ve not always been that good at feeling anger or getting angry so sometimes it helps to imagine that feeling in a song.

“Oh My” was created largely on the move - between bedrooms, buses, cafés, and borrowed studios. How did deliberately limiting your tools shape the sound and urgency of the EP?

It can be a bit overwhelming, the amount of options you can choose and directions you can go when creating, so I like to try and keep it a bit simple. But actually it was also just the setup that allowed me to make something whenever, because my life was a bit unstable and I didn’t have a studio or a consistent place to work in or any steady income. Moving around a lot, I never wanted to have too much gear with me, but a computer and a microphone is easy to carry around. There’s also an aspect of independence and freedom in it to me. With this minimalistic setup I’m not dependent on other people or economically dependent on a studio, salaries for other people, gear etc.

It shaped the sound in the sense that it only uses the computer as an instrument besides my voice. Also, I’m not technically that advanced a producer so the sound is limited to my skills. The process was mainly pretty easy and fun because I had these limits and it gave me a pretty clear vision of what kind of direction I wanted to go.

Your music jumps between electronic, punk, pop, and club culture with a lot of humour and chaos. At what point does experimentation stop feeling playful and start feeling honest for you?

Sorry I’m not sure I understand this question heheh. I think I try to work playfully and honestly at all times!:) The most honest thing to do for me is to not think too much about genres and just make the song I feel like that day, and let it evolve in whatever direction has the right sound and energy to me and feels beautiful, fun, meaningful or creative in some sort of way. I think in general, honesty for me is very tied together with the feeling and the energy music gives me, so free experimentation and honesty is very connected as far as I’m concerned.

After the success of Debbie’s Songs and moments like Roskilde Festival, did you feel any pressure going into this EP - or did Oh My come from actively resisting expectations?

I feel very lucky that I’m able to make music at the moment and that it is what most of my life consists of right now. I try not to think too much about all the other stuff and just enjoy that I get to do what I want to and feel like. It’s such a huge privilege. Oh My was just the songs that came out of me at that point and the sound I was interested in working with. I think I would get so overwhelmed if I had to think too much about people's expectations or the industry and stuff like that, so I just try to close my eyes and hope for the best.

You’ve said Oh My captures chaos rather than polishing it away. What do you hope listeners feel when they encounter that messiness on the dancefloor or alone in their bedroom?

I think a lot of beauty exists in contrast. For me, making music and listening to music makes everything feel a bit bigger and more magical and can make me escape reality or make reality seem like more in a way. I hope I can add that extra spice to somebody's feelings. I hope it can feel liberating and bring a smile on their lips or maybe a tear down the cheek (but in a like good relief kind of way idk) - and also maybe empowering - like it doesn’t have to be a failure to be messy, nor a weak thing. Chaos can be beautiful and, sometimes, a necessity. I also hope the DIY aesthetic of the EP can make it seem more accessible for people who wanna produce music to get started.