Start Listening To: Sylvie’s Head
A snarky, rave-fuelled conversation with Sylvie’s Head about “happy evil” energy, rejecting indie rock convention and becoming enemies of the state.
Sylvie’s Head make the kind of music that feels wired directly into movement; pulling together breakbeats, dub textures, heavy guitars and club energy into something sweaty, chaotic and difficult to pin down. The Gothenburg band’s debut album Everything Is Free captures that restless approach perfectly, balancing rave instincts with rock & roll looseness and a sharp sense of humour throughout. Ahead of a packed run of European and UK shows, we caught up with the band for a suitably snarky conversation about rejecting Gothenburg’s indie scene, explosive live performances, “happy evil” energy and why staying hydrated matters.
For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?
We are Sylvie’s Head from Gothenburg, Sweden and we make rock & roll dance music.
For anyone coming to you fresh, how would you describe Sylvie’s Head and the kind of energy you’re trying to channel?
Sylvie’s Head is all about doing what you want to do. The energy is happy evil.
Everything Is Free is a striking title. What does that phrase mean to you, both in the context of the album and more broadly?
It means exactly what you want it to mean.
Your sound pulls together breakbeats, heavy guitars, dub textures and club energy. Where did that hybrid approach first take shape?
We had this approach pretty much from the beginning. We were tired of the same old indie rock being made in Gothenburg and started experimenting more with samples, including breaks, to pull together our shared love of acid house, rock & roll and dub reggae.
There’s a real sense of momentum and physicality in your music. How conscious are you of making something that feels bodily or movement-driven?
It’s all about feeling. If the music doesn’t move you in some way, positive or negative, then what’s the point? Hehe
Gothenburg has a strong musical identity, but you feel slightly outside of any one scene. How has that environment shaped you?
Maybe we’re less influenced by Gothenburg bands and more towards other parts of the world. The Gothenburg “indie scene” can feel quite dull at times. We prefer going to raves.
Tracks like ‘Godstar’ and ‘Pure Control’ feel built for live settings. How important is the live show when you’re writing and recording?
Live is very important. We always think about how a track is going to sound and feel live when making music.
You’ve been described as “party-adjacent”, which is an interesting phrase. Do you see your music as part of club culture, reacting to it, or something else entirely?
Hannes hates that term, “party-adjacent”. Keeps him awake at night.
You’ve already built a reputation for explosive performances quite quickly. How have you approached translating that intensity into a debut album?
Fuck it, we do it live.
Being nominated at the Manifest Awards so early on is a big moment. Has that recognition changed anything for you, or are you trying to stay in your own lane?
Not at all. Well, it was huge for Albin since he always wanted to be famous.
With a run of shows across Europe and the UK coming up, what should people expect from a Sylvie’s Head show in 2026?
Stay hydrated.
What do you love right now?
Space travel.
What do you hate right now?
It’s all love baby.
Name an album you’re still listening to from when you were younger and why it’s still important to you?
Erik: “Original Rockers” - Augustus Pablo. Sweet vibrations…
Albin: ”Gentleman” - Fela Kuti.
Hannes: ”98.12.28” - Fishmans
Victor: ”Thank You” - Royal Trux. I still like to rock
When someone hears your music for the first time, what do you hope sticks with them?
Hopefully they decide to start a band and become an enemy of the state.
