Introducing: PEM

PEM today announces her new EP other ways of landing, out January 30th 2026 via Fascination Street Records, alongside the release of her spellbinding new single ‘to earth will you tell me when we land’.

Fresh from the momentum of her breakthrough EP cloud work and praise from The Guardian, Rolling Stone UK, NME, Dork, and So Young, the Bristol-based multidisciplinary artist continues to carve out a world that folds together cosmic symbolism, gardening rituals, and raw emotional storytelling. Her tremoring, unmistakable vocal style—hailed by critics as “trembling mysticism,” “enthralling,” and “extraordinary”—sits at the centre of her analogue-textured, myth-leaning alt-balladry.

Blending organic field recordings, string-based sound design, and the unfiltered intimacy of her “pocket sketches,” Pem deepens her practice on this new EP, exploring rootlessness, renewal, and the strange alignments that shape a life. As she embarks on a run of UK dates supporting Jasmine.4.t, Pem offers a body of work that expands her unique sonic world while remaining grounded in the gardens, cycles, and natural rhythms that define her creative process.

How do you translate these cosmic and ephemeral ideas into music and lyricism?

I usually write through symbols, and for this song the idea of syzygy (the sun, moon, and Earth briefly falling into a near-perfect line) became the main thread. I wanted to use it as a metaphor for that very human urge to hold on to moments, people, and places, even when you can’t — when everything has to unfold as it’s meant to, almost like trying and failing to rearrange the solar system.

Gardening seems central to your creative process, from mumbling melodies with secateurs in hand to capturing ‘pocket sketches.’ How does interacting with the natural world influence both your songwriting and the textures in your music?

 A lot of my writing happens while I’m gardening. I’ll hum melodies or lyrics to myself and record them before I forget. Being slightly detached or occupied with pruning or planting helps me write more freely. I like to include some of the real sounds from gardening like the pruning snips or winds or rustling leaves.

You balance highly stylized performance and costume design with deeply personal, vulnerable songwriting. How do you navigate the line between esoteric artifice and raw emotional honesty?

 I’ve never felt the need to separate the stylized stuff from the more vulnerable parts. I’m drawn to costume and drama and playfulness, but I’m equally drawn to being unfiltered and emotional. Both feel like honest parts, and the songs end up holding both. I think the contrast actually allows the emotional moments to land more.

https://www.youtube.com/watch?v=Do9aopdGG7E

Your vocal technique — the hypnotic tremolo and stratospheric range — is one of your most distinctive features. How do you develop and maintain that rare vocal style, and how does it serve the storytelling in your songs?

My voice always had a wobble to it but I didn’t really know how to use it. Then when I was a teenager I watched a video of Eartha Kitt singing and noticed her vocal wobble and how masterfully she used it and since then I’ve learned how to shape it more intentionally. My voice is so delicate, i loose it so easily so I take good care of it (which is hard because i'm so chatty). I like to use the vibrato and those small quivers at specific points to intensify whatever feeling I’m trying to convey and sometimes it just feels so fun to do it with certain words or sounds, it's easy to get carried away.

Across Other Ways of Landing, you explore themes of belonging, rootlessness, and cyclical change, often tied to personal and natural rhythms. What were the biggest challenges or revelations in capturing these ideas on this EP?

I moved house around nine times in eighteen months, but I kept returning to the same gardens, which gave me a sense of continuity. Writing outside made me notice how grounding it is to watch things move through their cycles of growth and decay. The themes of the EP revealed themselves afterwards. 'other ways of landing' became about those times when you find yourself somewhere unexpected, starting again in ways you didn’t plan and how disorientating that can be in the moment but afterwards it feels like it was all planned that way and now you wouldn't change any of it.

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