Helen Ganya Debuts “young girls never die”

“young girls never die … we just ROT inside”

With the release of her new album polish the machine out 18th November via Bella Union, and having previously shared a video to first single “afterparty”, today Helen Ganya shares a visualiser for propulsive new single “young girls never die”. Commenting on the track Ganya says: “Someone made a graph of a male celebrity which showed that as he continued to age his girlfriends stayed the same age. This vision kept sticking with me and I saw it everywhere – of the individual girl not allowed to grow, replaceable when she does. All the while our collective insides rot from a lack of full autonomy.” Additionally, Ganya has announced news of two upcoming live performances, in London and Brighton. Dates and info below:

Tuesday 25th October – London – Paper Dress Vintage

Wednesday 7th December – Brighton – Folklore Rooms

Approaching a new decade in age can bring with it a sort of existential search for meaning. As we grasp at reflections and try to draw a line into a new phase, expectations can be amplified, leaving us reeling in the wake of some unobtainable self. For Helen Ganya, entering her thirties made her question and pull away from the heteronormative social constructs that surround us. On her new album polish the machine, the Brighton-based songwriter stretches away from the suburban nightmare, seeking a cathartic reprieve that looks beyond the ordinary. “I was looking to the truth of removing any expectations that we’ve acquired along the way,” she says.

Previously performing under the moniker Dog in the Snow, Ganya’s 2017 album Consume Me (Battle Worldwide) introduced a meticulous and elegant voice, while 2019 album Vanishing Lands (Bella Union) – inspired by the striking imagery in a period of vivid dreams – utilised swirling dream-pop and haunting post-punk to present an eerie, unflinching look at the often nightmarish reality of the present world. polish the machine leans further into Ganya’s interiority, but refuses to succumb to despondency, instead pursuing a platform for community and tentative optimism. Here, the constraints of societal roles are loosened to encourage a different route: a wandering, ever-evolving path. “I’ve always slightly feared the ordinary,” Ganya explains. “It never really represented how I feel and how many people feel.”

This sentiment introduces the album, as Ganya utters “I had a fear of the ordinary” on the glistening electro-pop opener “I will hold that hand for you.” Inspired by sculptor Harriet Hosmer and her piece Clasped Hands of Robert and Elizabeth Barrett Browning, Ganya strives for community in an ever-isolated existence. “What we aspire to is to have human connection,” she explains. “I was drawn to this idea of setting the truth of something before it collapses. Setting this connection in stone.” Through staccato percussion and fluttering electronica, “I will hold that hand for you” pierces through the veil of societal stagnation. Elsewhere, “afterparty” further advocates vulnerability, while brooding horns and a climactic sonic crescendo imitate the overwhelming feelings that often overtake us during those moments of in-between, of unknowing. “I envisioned this actual space of disappointment,” she adds. “But I’m here, still hoping for something better.”

On the propulsive “young girls never die” hammering synths and haunting electronic strums create a canvas for an aggrieved Ganya who delivers a biting declaration towards the patriarchal norms of today: “Young girls never die, we just rot inside.” “The individual girl is often not allowed to grow,” she explains. “Instead there’s this sort of festering.” Later, the album’s title track delves deeper into the idea of lost autonomy, as all-encompassing, repetitive melodies mimic the hands of a puppeteer. The track features a looping bass line, fed through a Roland MC-202, that was created after the bass became stuck. Rather than trying to fix it, Ganya and her co-producer Rob Flynn decided to lean into the mistake. “It’s this idea of not being precious and counteracting the puppetry of what we’re supposed to be doing with our lives” she says. 


This open-minded approach offers much of the foundation for polish the machine. By loosening the grip of perfection, Helen Ganya makes room for the unexpected, where our different selves can be explored. Here, she surrenders to all there is to feel, crafting a window into a world where the universal existential pull is acknowledged but not permitted to overwhelm. polish the machine creates connection by offering an evocative, electronically-charged deliverance, where we can aim to liberate ourselves from the fear, anger and anxiety that so often isolates us through a kind of cathartic communion.

polish the machine will be released 18th November via Bella Union.

Helen Ganya Announces New Album “polish the machine”

Helen Ganya today announces her new album polish the machine released 18th November via Bella Union and available to preorder here. To celebrate the announcement Ganya has shared a striking video for first single “afterparty” which features professional dancers Gemma Shrub and Natasha Margerison. The video was choreographed by Ceyda Tanc who mixes contemporary dance works with influences from Turkish folk culture. Ceyda was given free rein to interpret the music, resulting in a mix of graceful and jarring movements which complement the moods of the song.

Approaching a new decade in age can bring with it a sort of existential search for meaning. As we grasp at reflections and try to draw a line into a new phase, expectations can be amplified, leaving us reeling in the wake of some unobtainable self. For Helen Ganya, entering her thirties made her question and pull away from the heteronormative social constructs that surround us. On her new album polish the machine, the Brighton-based songwriter stretches away from the suburban nightmare, seeking a cathartic reprieve that looks beyond the ordinary. “I was looking to the truth of removing any expectations that we’ve acquired along the way,” she says.

Previously performing under the moniker Dog in the Snow, Ganya’s 2017 album Consume Me (Battle Worldwide) introduced a meticulous and elegant voice, while 2019 album Vanishing Lands (Bella Union) – inspired by the striking imagery in a period of vivid dreams – utilised swirling dream-pop and haunting post-punk to present an eerie, unflinching look at the often nightmarish reality of the present world.polish the machine leans further into Ganya’s interiority, but refuses to succumb to despondency, instead pursuing a platform for community and tentative optimism. Here, the constraints of societal roles are loosened to encourage a different route: a wandering, ever-evolving path. “I’ve always slightly feared the ordinary,” Ganya explains. “It never really represented how I feel and how many people feel.”

This sentiment introduces the album, as Ganya utters “I had a fear of the ordinary” on the glistening electro-pop opener “I will hold that hand for you.” Inspired by sculptor Harriet Hosmer and her pieceClasped Hands of Robert and Elizabeth Barrett Browning, Ganya strives for community in an ever-isolated existence. “What we aspire to is to have human connection,” she explains. “I was drawn to this idea of setting the truth of something before it collapses. Setting this connection in stone.” Through staccato percussion and fluttering electronica, “I will hold that hand for you” pierces through the veil of societal stagnation. Elsewhere, “afterparty” further advocates vulnerability, while brooding horns and a climactic sonic crescendo imitate the overwhelming feelings that often overtake us during those moments of in-between, of unknowing. “I envisioned this actual space of disappointment,” she adds. “But I’m here, still hoping for something better.”

On the propulsive “young girls never die” hammering synths and haunting electronic strums create a canvas for an aggrieved Ganya who delivers a biting declaration towards the patriarchal norms of today: “Young girls never die, we just rot inside.” “The individual girl is often not allowed to grow,” she explains. “Instead there’s this sort of festering.” Later, the album’s title track delves deeper into the idea of lost autonomy, as all-encompassing, repetitive melodies mimic the hands of a puppeteer. The track features a looping bass line, fed through a Roland MC-202, that was created after the bass became stuck. Rather than trying to fix it, Ganya and her co-producer Rob Flynn decided to lean into the mistake. “It’s this idea of not being precious and counteracting the puppetry of what we’re supposed to be doing with our lives” she says.


This open-minded approach offers much of the foundation for polish the machine. By loosening the grip of perfection, Helen Ganya makes room for the unexpected, where our different selves can be explored. Here, she surrenders to all there is to feel, crafting a window into a world where the universal existential pull is acknowledged but not permitted to overwhelm. polish the machine creates connection by offering an evocative, electronically-charged deliverance, where we can aim to liberate ourselves from the fear, anger and anxiety that so often isolates us through a kind of cathartic communion.

Happy Release Day Helen Ganya

Helen Ganya, who previously recorded under the name Dog In The Snow, has today released a new 4-track EP, titled Heart to Heart Mirage. Of the EP Helen says: “Heart to Heart Mirage is a collection of four songs written to accompany and precede the next album, crafted around similar imagery and themes but standing alone as an independent collection. The title comes from a lyric in the song ‘Haze/revolution’ which lent itself well thematically.”

To celebrate the release Ganya has shared a video for “Haze / Revolution”, a track that “explores what counts as meaningful (or meaningless) in such non-material and divided times. This song contains the title of the EP – Heart to Heart Mirage – a line that I felt thematically connected all four songs together. Exploring that liminal space of understanding (or trying to understand) between yourself and another.

Born to a Thai mother and Scottish father, Helen Ganya spent her formative years in Singapore before returning to the UK, settling in Brighton. As a teenager, learning guitar and discovering GarageBand simultaneously became a gateway into songwriting. She absorbed influences such as Sufjan Stevens, Scott Walker, David Lynch, Clint Mansell and Brian Eno: brooding, immersive and filmic universes that helped transcend her ongoing sense of fragmented identity, of being mixed race.

Since moving to Brighton, Helen has been a session player for bands such as Fear Of Men as well as Lost Horizons – the project of Bella Union’s label boss Simon Raymonde. After a short-run debut record, she signed to Bella Union and released her first album proper, Vanishing Lands, a haunting and luminous collection of songs covering themes of environmental destruction, lifted by euphoric melodies and absorbing lyrics.

In a rave review MOJO said this of the album: “Echoing the rich gothic drama of 80’s post-punk, the aerial swirl of 90s dream-pop and Kate Bush, Vanishing Lands unfolds in a dreamlike manner.” It was also specially selected by Tim Burgess for one of his Listening Parties during the height of lockdown.

Since the pandemic, Helen felt a sense of panic and urgency surrounding anti-Asian hate that re-surfaced and amplified in western societies due to Covid. This partly inspired the name change from Dog In The Snow to Helen Ganya to reflect the importance of visibility “particularly for those that move in predominantly white spaces”. She now also runs a regular radio show on Brighton’s Slack City radio called Mixed Tapes which showcases music from musicians of colour in the independent music world as well as interviews with POCs in different parts of the music industry. She has since returned to school and is currently finishing a Master of Science in Climate Change, a subject matter that has been a recurring theme in much of her music.

Helen Ganya Announces Heart To Heart Mirage EP

Helen Ganya, who previously recorded under the name Dog In The Snow, has today announced news of a new 4-track EP, Heart to Heart Mirage, out 13th May via Bella Union. Of the EP Helen says: “Heart to Heart Mirage is a collection of four songs written to accompany and precede the next album, crafted around similar imagery and themes but standing alone as an independent collection. The title comes from a lyric in the song ‘Haze/revolution’ which lent itself well thematically.”

To coincide with the announcement Helen has shared a lyric video for the EP’s opening track, “Beautiful Country” of which she says: “Beautiful Country is a little tongue-in-cheek heartbreak on the illusion of meritocracy. It was a joy to write a sax line for this which was then re-interpreted with wondrous flair from fellow Brit-Thai musician Rittipo.”

Born to a Thai mother and Scottish father, Helen Ganya spent her formative years in Singapore before returning to the UK, settling in Brighton. As a teenager, learning guitar and discovering GarageBand simultaneously became a gateway into songwriting. She absorbed influences such as Sufjan Stevens, Scott Walker, David Lynch, Clint Mansell and Brian Eno: brooding, immersive and filmic universes that helped transcend her ongoing sense of fragmented identity, of being mixed race.

Since moving to Brighton, Helen has been a session player for bands such as Fear Of Men as well as Lost Horizons – the project of Bella Union’s label boss Simon Raymonde. After a short-run debut record, she signed to Bella Union and released her first album proper, Vanishing Lands, a haunting and luminous collection of songs covering themes of environmental destruction, lifted by euphoric melodies and absorbing lyrics.

In a rave review MOJO said this of the album: “Echoing the rich gothic drama of 80’s post-punk, the aerial swirl of 90s dream-pop and Kate Bush, Vanishing Lands unfolds in a dreamlike manner.” It was also specially selected by Tim Burgess for one of his Listening Parties during the height of lockdown.

Since the pandemic, Helen felt a sense of panic and urgency surrounding anti-Asian hate that re-surfaced and amplified in western societies due to Covid. This partly inspired the name change from Dog In The Snow to Helen Ganya to reflect the importance of visibility “particularly for those that move in predominantly white spaces”. She now also runs a regular radio show on Brighton’s Slack City radio called Mixed Tapes which showcases music from musicians of colour in the independent music world as well as interviews with POCs in different parts of the music industry. She has since returned to school and is currently finishing a Master of Science in Climate Change, a subject matter that has been a recurring theme in much of her music.

Heart to Heart Mirage tracklist:

1. Beautiful Country

2. Haze/Revolution

3. Patient Zero

4. Pleasure Dome