Scene Queen has shared a spectacularly graphic new single, ‘Finger’. Taken from her upcoming debut album Hot Singles In Your Area – which is due out in ‘late 2024’ – the latest effort from our favourite bimbocore star is, according to Scene Queen herself, “about my queer awakening”. She continues: “I also wanted to flip the script on songs written to sexualise women in a way that was for a man’s pleasure. I wrote this song about two women experiencing things equally. So the song is vulgar like any sexual song but with a woman driving the narrative about her own body and taking control of her own pleasure with step-by-step instructions.” Even more brilliantly, Scene Queen says that the accompanying music video “features a dance made to be accessible to anyone both sitting or standing. I wanted to feature that in the video because, as someone who struggles with POTS, I was at one point completely unable to dance like I do standing in the video. So I wanted something to make everyone feel included because sexuality and pleasure is something everyone can and should be able to relate to.” [via Kerrang!]

Yaya Bey shares the latest offering from her forthcoming album Ten Fold with the new single ‘sir princess bad bitch’. Serving as one of the album’s centerpiece statements, the song and its accompanying video embody the complexities of Yaya’s identity as a genderqueer person, with her stating resolutely that she is “no other thing but the thing I am.”

Call Me Spinster has released ‘Burn the Boxes,’ the latest single from their debut album Potholes, out April 12 via Strolling Bones Records. With its jovial bluesy groove and a New Orleans-inspired trumpet to boot, the new song is an empowering anthem about breaking free from societal expectations and re-defining life on your own terms. ‘Burn the Boxes’ arrives with a playful music video, showing the group reusing pieces of cardboard as the colorful backdrop for this impactful metaphor about change. Call Me Spinster on the new single: “‘Burn the Boxes’ is all about tearing down and re-defining terms – of relationships, of our contract with societal institutions. It felt fitting to rip apart and reuse cardboard boxes to make something colorful, haphazard and beautiful – a reminder that change takes the creative, destructive and playful mind of a child.” On the music video: “Amelia’s husband Dan got the idea for this music video at 7 in the morning, groggily watching our six and two and a half-year-olds crafting away, hot-gluing cardboard dioramas and a dollhouse they are perpetually retro-fitting with found objects. By 10am we were deep in a cardboard frenzy, the assembly line led by six year-old Amos and our art director friend Chad. We sent our kid off to first grade the next morning exhausted and still covered in spray paint, but proud of his first (and likely not last) production design credit.” [via Broadway World]

Bambie Thug has shared the music video for their upcoming Irish Eurovision entry ‘Doomsday Blue’. The Cork-born artist leans into black magic in the new video, which follows the story of a witch who inadvertently conjures up a strange creature after casting a spell to make a new boyfriend. It’s a brilliantly vivid visual that is no doubt set to wind up a small but vocal minority in Ireland who weren’t too happy and dared to accuse Bambie of promoting Satanism after they triumphed earlier this year with the alt-rock track. “I think it was quite iconic to have created such uproar. I’m pissing off the right type of people – people who suppress love, compassion, understanding, people who are slaves to their programming, transphobes, the far-right and a few priests so it seems,” Bambie explains. [via Rolling Stone UK]

Ariana Grande has released her second single, ‘We Can’t Be Friends (Wait For Your Love)’, from her new album Eternal Sunshine — and the music video is heart-wrenching. The singer recently released her chart-topping album,and her latest music video to come from the album pays tribute to the movie which inspired it: Eternal Sunshine of the Spotless Mind. The video shows Grande taking on the character Peaches, who finds herself at the “Brighter Days Inc” doctor’s office to undergo a procedure to erase her painful memories of an ex. The video harks back to the film, which sees Jim Carrey’s Joel and Kate Winslet’s Clementine having similar treatment. Behind the short film is ‘Yes, And?’ director Christian Breslaur, while Dahmer actor Evan Peters appears alongside the singer as her ex. Her character moves through her memories of her ex, triggered by a box of his things. The video sees Peters’ character winning the singer’s character a bear at the arcade, recalling an argument they had in the middle of the night, making snow angels together, holding hands in bed, and sharing a very 16 Candles moment with a kiss over a birthday cake; all of which get deleted from her memory. Then, in perhaps the most heartbreaking scene of the music video, Peaches wakes up crying and clutching at her necklace. She bargains with the medical team to “keep this one please”, and they re-attribute Peters giving her the jewellery to a collar for her dog. In the end, her character seems relieved that her painful memories are no longer there hugging the doctors before her box of things is incinerated. Later, Grande’s character seems to have moved on with someone else, as did Peters’, when they walk past with no recollection of each other. Grande said in an Apple Music interview with Zane Lowe that the song is open to interpretation, but sums up “the album in a video”. “I think it can be applied to any kind of relationship, really, especially when you see the video. I think you’ll understand the importance of it,” she said. [via Pink News]

Allison Ponthier has shared new single ‘Skin’. Out now, it was seemingly prompted by a memorable concert, with Allison Ponthier left enraptured by her favourite artists. There’s a twist, however – she felt genuinely obsessed with the artist. Hailing from Dallas, Allison’s neat melodies and unerringly accurate pen have brought critical plaudits, with songs like ‘Cowboy’ going viral. ‘Skin’ takes her a step further – musically, it recalls everyone from boygenius to Japanese Breakfast, while also lacing in subtle hints of Americana. She comments: “I had this complicated feeling where I absolutely loved the show but also felt overwhelmed with jealousy — I wanted it to be me so badly. I left the venue with the lyrics to the verse in my head and assumed it would become a ballad, but when I went into the writing session I got the idea to sing ‘I wanna wear your skin’ at the chorus. I love how it sounds horror-movie-esque but describes a very real feeling I was afraid to express out loud.” The video was shot by Julian Buchan, taking stylistic cues from 90s thrillers. The clip co-stars Ponthier alongside Independent Spirit Award-nominated actor Suzanna Son. “I’m really attracted to writing songs that explore my weaknesses, and the challenge of ‘Skin’ was to create something that gave a voice to my inner saboteur,” says Ponthier. “I wanted to talk about feeling like you’re not good enough — which is something that every single person goes through — but to do it in a way that’s got some levity and feels upbeat and fun.” [via Clash]

Delilah Bon has just unveiled a triumphant new single called ‘Maverick’. The song’s release coincided with International Women’s Day (March 8), and as such Delilah explains that it’s about “self-worth and reclaiming your confidence, reminding yourself that you belong in the rooms you don’t always feel welcomed in. It’s about looking yourself in the mirror and believing in your power without needing the approval of others.” Excitingly, a press release also confirms that ‘Maverick’ is a “sneak peek into her upcoming second album, set to be released later this year” – so keep your eyes peeled for more on that… [via Kerrang!]

A rising star in the punk underground, Kate Clover recently announced her new record, The Apocalypse Dream, due out April 5. Following the release of ‘Damage Control’, which came alongside her LP announcement last month, now sees a video-only release of her raucous second single, ‘Like A Domino’. The video, directed and edited by Clover, spoofs a late-night talk show performance, and sees her and a cadre of backup dancers broadcast their new dance, “The Domino” to the world. Speaking on the origins of ‘Like A Domino’, Clover said, “I overheard a conversation where a woman told her friend she “played him like a domino”. Intrigued by this sentiment I wrote the chorus with the phrase. I like the innuendo it exudes. With this theme in mind, I enlisted my choreographer friend Sandi Denton of Rated Z dancers to create an original dance to accompany the song, titled “The Domino”. It’s a nod to the twist, the mashed potato and the Loco-motion. I wanted this song to be a garage rock banger that gets people up on their feet and prod some fun.”

Los Angeles indie-poppers the Marías made a name for themselves with their first two EPs, 2017’s Superclean Vol. I and 2018’s Superclean Vol. II, and they were already a big deal when they released their 2021 debut album Cinema. Since then, the Marías have truly blown up, collaborating with big stars like Bad Bunny and Young Miko. Early this year they collaborated with LA producer Eyedress on the singles ‘Separate Ways’ and ‘A Room Up In The Sky.’ Now, the Marías have announced their sophomore album Submarine, and they’ve dropped a pretty great lead single. Submarine comes out this spring, but we don’t have a tracklist or any details yet. What we have is ‘Run Your Mouth,’ a sleek and funky new track. Bandmates María Zardoya and Josh Conway wrote the song, and Conway produced it. It’s a warm and genuinely catchy fuck-you song. The glammed-out video, directed by regular collaborator, looks like a ’90s Gap commercial. Here’s what Zardoya says about the track: “This was one of the first songs Josh and I wrote on Submarine. I was conflict avoidant at the time, and whenever someone wanted to talk about something serious, I’d run and hide. I learned that was a protective mechanism and I didn’t have the capacity to open up. There’s no other song on the album like it, hope you dance to this one.” [via Stereogum]

Toronto-born, Los Angeles-based alternative sensation Abby Sage treats her audience to a captivating video for ‘Three Floors, Three Doors,’ the focus track from her debut album The Rot. The project released March 1st via Nettwerk. The second track of the album, ‘Three Floors, Three Doors’ juxtaposes a dreamy sonic profile with Sage’s uncomfortable realization that she can never return to the innocence she had as a child. The song tears down and rebuilds everything she thought she knew, admitting and welcoming the uncomfortable fact that change is inevitable. Like the rest of the album, ‘Three Floors, Three Doors’ was made in collaboration with London-based production team MyRiot aka Roy Kerr and Tim Bran (who worked on Sage’s 2022 The Florist EP). “Three Floors, Three Doors’, to me, is the realization that nothing can be erased. Everything I’ve been taught and have experienced will always live inside of me no matter how badly I want to pick and choose what I keep and what I let go,” Sage explains. “It describes a spiraling moment I had one evening where I felt like I was looking at my body from three floors above. From above, I could clearly map everything out and think rationally but when I returned to my body nothing had changed, I still felt everything I had before.” The accompanying music video serves as a captivating voyage of self-revelation, offering viewers a glimpse into Abby’s mind as she struggles with, and eventually embraces the concept of interconnectedness. With figures draped in both black and white, the video presents a compelling visual dichotomy – symbolizing the complexities of memory and perception, echoing Abby’s internal conflict as she navigates the contours of her own psyche. “‘Three Floors, Three Doors’ deals with acceptance of self and the vertigo of change in your journey,” Sage continues. “Masks have been this visual throughline in the project so far, and I think they worked especially well here to capture the feeling of struggle and the different masks you wear along your journey. I also wanted to demonstrate that struggle through the choreography. The scene with the two doors specifically, shows the push and pull of navigating through two sets of choices to find the right path forward.” [via Broadway World]

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Georgia Gets By, the project of New Zealand’s Georgia Nott (BROODS), shares a video for ‘When All You Can Manage Is A Sigh,’ a gorgeous and quietly devastating new single. “I wrote this song for a friend a few years ago while they were navigating a divorce. There are those moments where thinking can’t balance out the feelings. You can rationalize all you want but you are still there, holding that enormous heavy sensation that no words can describe,” Georgia explains. “There, on the other side of falling in love, looking around at empty space and wondering whether you can bear to try it all again. This song is a parting gift of some sorts; something to fill the emptiness for a couple of minutes. As Imogen Heap says ‘there is beauty in the breakdown’.”

Gustaf, the Brooklyn no wave / post-punk band announced their debut album last month and now they are back with a double single and video for ‘Here Hair / Hard Hair.’ The first is a brooding, slow-motion growl peppered by birdsong and stabbed by pinpricks of guitar, while its chaser, ‘Hard Hair,’ is 45-second outburst of energy, invective and regret. The songs were produced and mixed by Erin Tonkon with initial production from Carlos Hernandez. Its accompanying video directed by the band’s own Lydia Gammill, features the band wigged out among heart shaped hair brushes and roses.

Manchester’s finest alt-punks The Empty Page just released a gritty new video, calling out the ‘Cock of the Fifth Year’. “Cock of the fifth year is what we called the biggest jock types when I was in high school. Cocky, brash loud and overly confident. Puffed up and swaggering and often quite intimidating. I liked the name for a song and wrote it initially about a cartoonish bloke who unselfconsciously uses up all the space available and makes others feel shoved out of the way. Unfortunately, there are still a lot of blokes like that I encounter when walking around my home city of Manchester. Swaggering, mouthy bellends who can be pretty intimidating when you’re a woman just trying to get from A to B. I was thinking about the idea that being a big deal in high school is the peak of some people’s lives. I hated school with a passion and my own life has got better and better as my school days have receded in the rearview. Seems a weird flex now to have been a big deal in high school,” says Kel, singer/guitarist/songwriter of The Empty Page. [via Loud Women]

Babehoven will return with a new album this spring. The New York-based duo of Maya Bon and Ryan Albert have announced Water’s Here In You, out April 26 via Double Double Whammy. This week sees the release of a new song called ‘Birdseye,’ following the previously released album track ‘Chariot.’ Seemingly aware of the blandness that runs through most modern indie rock, ‘Birdseye’ opts for something more ambitious and strikes a balance between melancholic and soaring, jangley and ornate. The music video, directed by Ash Kron, makes a comforting blanket out of the threads of whimsy in the song, depicting Bon as a balloon-aided bird flapping across the coast and taking advantage of the nice weather to do some human-watching. [via The FADER]

Last year, Saya Gray shared her Qwerty EP. Now, the art-pop musician announced its sequel, Qwerty II, and shared the hallucinatory single ‘AA BOUQUET FOR YOUR 180 FACE’ with a video directed by Jennifer Cheng. “180 face is my bass moment off of qwerty ii EP,” she said in a statement. “it’s about a spooky moody boy with a 180 face.” Qwerty II was made in isolation in 2023, and Gray describes it as “a collection of ideas and collages stuck together as the ying to the yang of the first half.” [via Stereogum]

The new visuals for Fever Ray‘s ‘Shiver’ come from frequent collaborator Martin Falck; Main, the trollish office drone Dreijer has portrayed in this era of visuals, falls from the sky to a red planet. They’re healed by a buff doctor, played by none other than International Fitness and Bodybuilding Federation pro bodybuilder Irene Andersen, whose office also doubles as a BDSM chamber. Some light physiotherapy ensues. The new clip was inspired by the Lovers of Valdero, a pair of Stone Age skeletons that were buried for millennia in an intimate embrace. “We fantasized about what might have happened to these two skeletons,” Dreijer says. “Were they so in love they had their mouths and noses too close to each other, or couldn’t stop kissing so they died of carbon monoxide poisoning? Or did a dinosaur kill them, and they died in fear holding each other? Was it a volcano, and they were protecting themselves from the lava burning their flesh? Maybe they weren’t in love at all; perhaps they were lifelong enemies facing their final struggle strangling each other? We felt there was a beautiful story there about the struggles of falling in love and the vulnerability you might feel being ‘examined’ by your love interest who wants to make sure you really are the one they can trust and form a relationship with, that will last for eternity.” [via The FADER]

Tierra Whack has dropped ’27 CLUB,’ the latest preview of her new album, WORLD WIDE WHACK. A reference to the infamous 27 Club of celebrities who died at the age of 27 — including Jimi Hendrix, Janis Joplin, and Kurt Cobain — the new single was produced by Whack’s frequent collaborator J Melodic and ProdbyBRIANNA. The track dives deep into Whack’s mental health, as she sings about losing touch with family and friends while embodying the pain of coming up against seemingly insurmountable obstacles. After explicitly mentioning thoughts of suicide, Whack sings, “Like a glass full but I’m empty/ Said, ‘I’m broken, can you fix me?’/ If I’m dreamin,’ you should pinch me/ Got a gun to the head, don’t tempt me.” Addressing the song in an Instagram post, Whack wrote, “I was in a dark place for a long time, and no one knew. I found my way out and made a choice to keep living. I wanna be completely transparent with my ‘whackos’ because I’m human just like you and we all have rough days. The key is to keep going! Be kind… you never know what someone else is going through. For the longest time, I felt like I didn’t belong, but now I know that I do, and my hope is for other people to know that, too.” [via Consequence]

Toronto-born, Los Angeles-based alternative artist Abby Sage sustains her musical momentum with an introspective new single, ‘Soak.’ This radiant track offers another peek into her creative process while heightening the anticipation for the release of her forthcoming debut album, The Rot, out March 1 via Nettwerk. Embellished with delicate vocals and complemented by upbeat guitar strums, ‘Soak’ strikes a sonic balance between melodic buoyancy and industrial undertones. Introduced by a simple drum beat, the song gradually reaches its climax in a lively and sparkling chorus. This sweeping alternative-pop track is a testament to self discovery, and an exploration of the liberation found in triviality. “‘Soak’ is the acceptance and surrender to complete unimportance.” Sage says. “It’s recognizing how insignificant everything is and how small I am. It’s celebratory in a way because there is something so beautiful and freeing about letting go of ego and self importance. It frees up a lot of space.” Regarding the video, she continues, “I wanted to focus on the ‘giving in’ aspect of that first so the set was designed to feel chaotic and crowded with the masks and the wind blowing while I struggle to let go. Later in the video, the optical illusion of the puppet ‘carrying’ me around is that manifestation of my surrender and embrace of my insignificance.” [via Broadway World]

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Australian alt-dance trio Haiku Hands (Claire Nakazawa, Beatrice Lewis, and Mie Nakazawa) release ‘Cool For You,’ produced by Motez (Flume, Disclosure, Sam Smith, Tkay Maidza) via Spinning Top Records. This is the latest off of their forthcoming Pleasure Beast, due December 1. Of the single, which recalls the soundscapes of Chemical Brothers or Prodigy, Bea Lewis says, “This song is about feeling yourself, being at a party and enjoying being yourself. Being with your crew and feeling everybody, it’s the antithesis of capitalism that you need to be something else, that you need another product to feel good, that you need anything. It’s a statement that you’re already good. In fact you’re already awesome and mad and lit and you should be singing it from the rooftop and celebrating yourself and backing yourself and feeling yourself. It still gives me goosebumps when I listen to it even though I’ve heard it a million times. It’s liftoff baby!!!!”

Corlyx has joined forces with Suzi Sabotage to unveil the gorgeous, dark darkwave thriller ‘Kill Cave,’ the second single from Corlyx’s highly anticipated album, slated for a 2024 release under the Out Of Line Music label. ‘Kill Cave’ serves as a hauntingly poignant tribute to those on society’s fringes, evoking the enduring tales of enigmatic women who have been historically misunderstood and marginalized. This collaboration seamlessly melds the distinctive styles of both artists, yielding a composition that is both shadowy and enigmatic, simultaneously possessing elements of beauty and the macabre. Within their artistic underworld, darkness converges with the divine. Suzi Sabotage, renowned as a Finnish songstress who effortlessly fuses dark coldwave with synthpunk, crafts an ethereal yet danceable auditory landscape, occasionally embellished with the haunting strains of the Finnish kantele. “Suzi Sabotage was my first choice to join us in this song,” gushes Caitlin Stokes of Corlyx. “I love her powerful iconic energy, and she brought some fresh ideas to the song. We had a blast making the music video together, front women rarely collaborate, and I think we need to see more of this…our unique beauty in harmony is powerful and enchanting.” “It’s been an unforgettable, wonderfully berserk experience to collaborate with Corlyx, especially flying over to Italy to film the music video with them,” Suzi Sabotage recalls. “I handpicked the song myself out of different alternatives because it immediately took my breath away, sounding like a modern darkwave classic. They’re talented, lovely people who I think should become THE name on everyone’s lips in the goth scene.” The music video, a captivating visual accompaniment that harmonizes seamlessly with the track’s ethereal nuances, emerged from a collaborative endeavour led by director and editor Caitlin Stokes. Stokes skillfully translates the essence of the song’s lyrics into a compelling cinematic narrative. Through her direction and editing prowess, the video paints a vivid picture of a voyage of self-exploration and the process of discarding ill-conceived facades. [via Post Punk]

Following the release of recent Death By Laundry EP out on August 2 through AWAL, along with recent single ‘What Do I Know?’ and ‘Wasted Youth’, Sarah Crean supported Blackpink at BST in Hyde Park and Bombay Bicycle Club on their UK dates. The now Brighton-based artist, Crean debuts ‘The Subtle Art of Past, a fine new song with an video inspired by cult films Corpse Bride and The Addams Family – starring Sarah and an invisible man echoing the song’s sentiments. “This is my favourite song that I’ve released so far. The premise of it and its story both feel so simple yet were so extremely therapeutic for me to write. I can remember just feeling so bitter and honestly seething a little bit when we made this and the whole song came very quickly because of that for sure. But at its core it is a song about just how extraordinary a person’s impact can be both in how they come into your life and how they leave. It just might take a wee bit of extra time to accept that.” [via Nialler 9]

After releasing their debut album Fishbowl back in March, Miami-based coldwave trio Donzii have returned with a bonus EP named for and featuring the album’s second track, ‘Penetrate.’ As the teaser single ‘John Wayne’ suggests, the EP’s new material continues to reflect the fact that the band has comfortably shared a bill with New Order and Drab Majesty in recent years, while the addition of remixes of Fishbowl tracks ‘Fun’ and ‘Crash Landing’ by Brutus VII and Mr Twin Sister, respectively, reflects forays into synth-punk and dream-pop. Along with the release of the Penetrate EP, the band is sharing a Trulee Hall–directed music video for the title track, which brings the release’s chaotically green album cover to life. Shares the band, “The video is an extension of Trulee’s amazing body of work that we feel flows into our aesthetic—chaotic energy that isn’t afraid to poke fun at the hypersexual and male-dominated world we live in.” Of the wonky new-wave-by-way-of-funk track itself, the band shares that it was a conscious attempt to return to their no-wave roots while combining their broad slate of influences into something totally fresh. “‘Penetrate’ is simultaneously funky and dark, referencing many of our influences at once,” they add. “As we were crafting the song, we wanted to write something with a chord progression we had never heard before to ensure its originality and perk our ears.” [via Flood]

British dance artist Ella Rosa has got the ick. Her latest single ‘gross!!!’ is a playful tune about the awkward first stages of a relationship, where the PDA is almost unbearable. We’ve all been there, sometimes it’s inevitable and even hard to tone down when you’re feeling head over heels for someone, but Rosa is here to try and cool things down a little, urging people to quite simply “get a room.” The songwriter shares, “I made this song to poke fun at myself. PDA, puppy love, infatuation, whatever you want to call it is gross and I needed to almost make an anthem to remind myself (and others) that it’s not that deep.” Rosa’s sweet, angelic vocals glide like silk over throbbing drum and bass, while twinkling guitars, and iridescent synths create an all-consuming atmosphere. [via Earmilk]

Last week, Sevdaliza released the single ‘Nothing Lasts Forever’, featuring Grimes. She has now shared the official video which was directed by Willemkantine. Visuals of approved deepfake A-List celebrity faces, including Grimes, Ferg, Julia Fox, and Madonna, on bikini-clad competitive bodybuilder figures, exhibit Sevdaliza’s penchant for engaging with cutting-edge technologies whilst shining a light on the quest for unrealistic perfection with a pop aesthetic and dystopian, mechanic lens. “How do you get Sevdaliza, Grimes, Madonna, Julia Fox and Ferg in one space? By using the same technology that is often weaponised against artists, instead, as a vehicle to bring them together as collaborators. That’s how. Of all these uncanny artists, who is really there? Whatever medium it is that Sevdaliza and Grimes speak through, they are constructing worlds of their own that mirror and distil the world we all share,” director Willem explains. “The video for ‘Nothing Lasts Forever’ plays with the theme of transience in a digital landscape. In a world where filters are always within reach and reality blends seamlessly with our digital identities, the video seeks to question our common reality in an engaging way. Sevdaliza and Grimes are constructing worlds of their own that mirror and distill the world we all share.” [via Line Of Best Fit]

Alt-pop sensation Abby Sage is set to captivate the world with her latest single, ‘Hunger.’ Produced by MyRiot (Halsey, London Grammar, AURORA), the alluring release serves as the second offering from the Toronto-born, Los Angeles-based artist’s forthcoming debut album, due out in Spring 2024 via Nettwerk. In this compelling track, Abby Sage delves into the profound and sensitive topic of sexuality, delivering a message of self-discovery and liberation. ‘Hunger’ represents Sage’s fearless submission to her true desires and an unwavering commitment to her own identity. The chorus’s deeply personal lyrics, “Feed my hunger, No shame, I’m just a beginner,” perfectly encapsulate the spirit of the song – an unapologetic declaration of personal empowerment and the courage to embrace one’s authentic self. When asked about the single, Sage shared, “‘Hunger’ is the most important song to me on the album. It addresses the pressure and expectation that I have felt all my life surrounding sex and what my relationship with it should look like. Give enough but not too much. Want it enough but not too much. It’s my surrender to myself and what I want/crave, finding that in myself, and moving forward. I wish I heard a song like this when I was first exploring my sexuality and my sexual journey, and for that reason I hope it reaches people.” Accompanying the release of ‘Hunger’ is a spellbinding music video that beautifully illustrates Abby’s journey of breaking free from the shackles of shame as she explores her sensuality and sexuality. The video is dark but poetic, an artistic masterpiece that serves as a powerful visual narrative, reflecting the song’s themes and Sage’s creative vision.

Ahead of a UK tour later this month, Canadian twin duo Softcult bring their whirlwind year to a resounding conclusion and tease things to come in 2024 with the release of ‘Haunt You Still’. On this next collection of songs, siblings Mercedes (she/her) and Phoenix (they/them) Arn-Horn shine a more brilliant light than ever before on the many complexities of human existence. Though they’re still yet to release their debut album, Softcult are already carving out a signature sound with their enthralling, celestial shoegaze bliss interlaced with impassioned lyrical calls, opening conversations about gender equality, violence, climate change, corporate greed and much more. New single ‘Haunt You Still’ finds Softcult unpacking the lingering impact we each inevitably have in our past relationships and friendships. “Maybe it’s a defence mechanism, but we tend to demonise the people we once held close once they’re out of our lives, and it’s not always warranted. It’s a reactive way of protecting ourselves,” they explain. “This song is an acknowledgement that when things don’t work out between two people, it’s not always one sole person in the wrong. Looking back on our past, we have to reflect on the parts we’ve played and the damage we may have unintentionally left behind. When those people think of us, do they look back fondly or has the chapter of their lives where we appeared become a painful memory?”

DIAMANTE has released a new music video. The new music video, for the track ‘1987’, is the brand new single from the American singer-songwriter and marks her first new music since last year’s The Diamond Covers EP. The new song provides a glimpse into her third full-length studio album. More information about the new album will be unveiled in due course. Speaking about the new single, she says, “’1987′ is a love song to my favorite era of music: the 80s. I chose the year 1987 because that specific year birthed so many of my all-time favorite records, which have most inspired my own music. Writing this song was also a means of escape for me during what felt like a very heavy and anxious time. I remember sitting in the studio thinking about what it would be like to transport myself back to the 80s when everything seemed simpler and life had a little more sparkle.” [via Distorted Sound]

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Abby Sage’s upcoming EP is fueled by a love for character sketches, with each song becoming a tiny play or narrative. Take the new single ‘The Florist,’ and its depiction of a woman who can bring beauty to the lives of others. “I’m someone who’s so protective of their friends,” shares Abby. “When something is broken, I want to fix it. And a florist is someone who through their actions makes a room prettier – because flowers always manage to do that.”

Commanded by a pillowy production, deliberately impassive vocals, and a skittering drumbeat, ‘The Florist’ is an appetizing slice of soulful indie goodness. Gentle and quiet songwriting is at the forefront, with labelmate Boy Willows providing a hand in co-writing a portion of this beautiful and sweeping track that enthralls with notable and radiant power.

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