Elke is back with her sophomore record Divine Urge, which sees Paramore’s Zac Farro return to take on percussion duties while songwriter Jake McMullen joins Kayla Graninger (Elke) on co-production duty. The first single from the record, ‘Enchanté,’ lands somewhere between the blog-era synth-led quirkiness of Chairlift and YACHT and the maximalist radio pop of that same period, with jarring switches in vibe and tempo helping to relay the song’s message regarding the divides between humankind, nature, and technology. “Nature works together with what’s fighting against it without the opponent knowing. It finds a way to keep growing by adapting.” Graninger philosophizes while introducing the track’s Bérénice Bear Eveno–directed video, which sees the songwriter embodying the aforementioned factions of mankind, technology, and the natural world. “This is why no matter how much we develop as a society, we will always have to return to nature—it is wiser than us and cannot be controlled. Sometimes we as people wish to possess the earth to feel alive, but nature teaches us the opposite, to just be alive is to possess the nature inside us.” [via FLOOD]

Enigmatic alt-pop artist Tlya X An continues her journey with the release of her new hyper-pop single, ‘Ninja’. Following the acclaimed ‘Mi Mind Unknown,’ Tlya once again takes the reins as director and editor, collaborating with Oliver Whitehouse to deliver a deliciously quirky music video alongside the track. Carried by a driving drumbeat and Tlya X An’s unique, magnetic vocals, this latest offering masterfully blends hyperpop, R&B, and glitchy electronica. Channelling the pulsating basslines of M.I.A., Charli XCX’s glossy allure and a touch of Grimes’ eccentric genius, ‘Ninja’ is another vibrant portal into Tlya’s unique musical landscape. A heartfelt ode to her sister, born from a reflective London getaway, ‘Ninja’ celebrates their sisterhood, shared joys, and challenges. Yet, the accompanying visual is a mind-bending departure. Directed and edited by Tlya and filmed by Oliver Whitehouse, the video is a surreal dreamscape featuring heart-headed dancers, edgy choreography and a blood-drinking drummer (Lawi Anywar). Inspired by the song’s lyric “Even dreams of hell can be beautiful” from Joe Dispenza’s ‘Becoming Supernatural,’ the video presents a daring visual interpretation of the idea. It conveys the notion that life, in all its complexity, is a work of art and even in the face of adversity, can be seen as a masterpiece. This striking juxtaposition of the song’s intimate message and the video’s provocative imagery showcases Tlya’s artistic range, proving she’s as fearless a visionary as she is a musical virtuoso. “I wanted to keep the video simple inspired by the production and use a white studio,” says Tlya X An of the video “The driving forces of the song are the drum beat and the vocals which have a little choreography that me and my dancers have been perfecting over time mainly for my live shows. The original moves came to me from the beginning naturally before I even had dancers working with me and over time evolved to something more concrete which you can see in the video.”

Surely Shirley, which is made up of twins Anisha and Jenaya Okpalanze, have been serving up sugary melodies and doo-wops backed by swaying grooves for a while now, with a meticulous approach to both their music and their visual output. Directing or co-directing their videos, the pair have built out a Surely Shirley world which feels like it lives somewhere between a 60s dollhouse and a Wes Anderson film, with their music perfectly syncing with the pastels and performances we watch unfold. That’s no more evident than in the ‘Lavender Blues’ clip which dropped along with the EP. Complete with claps and shimmering guitar lines, Anisha and Jenaya’s vocals bounce between softly sung hooks and dreamy harmonies, as a groovy beat keeps everything glued together. [via Life Without Andy]

Northumbrian electro-folk musician and producer Frankie Archer has announced her new EP Pressure and Persuasion and released new single ‘Barbara Allen’ along with an entrancing accompanying video. New single and EP opener ‘Barbara Allen’ is one of the most re-told songs in the English language. Frankie’s spiralling interpretation – co-produced by Jim Moray – transcends expectations. “It’s about a mean, cruel-hearted woman (irony there),” Frankie explains, continuing: “It’s 350+ years old but is dripping with the same expectation that’s laid onto women today.” Melding otherworldly electronic production that snaps and darts between the age-old prose, Frankie utilises harshly chopped and distorted fiddle, pitch-shifted vocals, swinging drum samples and a rich assemblage of analogue and digital synths, with her distinctive approach to folk storytelling opening up a new way of understanding the fabled tale. Discussing the song and her re-imagination, Frankie said: “Barbara Allen is summoned to the deathbed of John, a man she doesn’t really know, so he can tell her he loves her, and expect her to love him back. In some versions of the song he tries to guilt-trip her into it “For I am sick, I’m very bad // One kiss from you will cure me.” Barbara rejects this random man and is branded ‘cruel-hearted’. In most versions she actually dies of sorrow the day after he does (often this is told as a warning to girls not to be so cruel).” “In my telling of the song I explain that Barbara isn’t cruel, and John is actually a bit unreasonable for expecting her to – out of nowhere – immediately love him and kiss his dying mouth (grim) and heal him. “It’s not for me to fix you, John”, she says. The song definitely turned into a band song rather than a folk tune, but the lilting 6/8 hi-hat in the verses keeps the trad feel. I also (sacrilege) added a kind of pop chorus. A lot of trad songs don’t have choruses but this one needed it to reinforce over and over again the message: ‘I don’t owe you anything / I didn’t ask for your attention / Lechery is not a compliment’ – comments that our society was not ready to hear a woman say 350 years ago and still apparently struggles with today.”

London-based, internationally assembled instrumental four-piece, Los Bitchos, release their eagerly anticipated second album, Talkie Talkie, via City Slang alongside a new video for the track, ‘Talkie Talkie, Charlie Charlie’. ‘Talkie Talkie, Charlie Charlie’ is a cinematic odyssey through 80s synth pop that would slot right into Black Mirror’s storied San Junipero episode. About the track, the band said: “’Talkie Talkie, Charlie Charlie’ feels like driving around Miami in the 80s, Grand Theft Auto style, or chatting to friends on old landlines or walkie talkies. It was the first song we recorded for the album and the first time working with our producer Oli Barton-Wood. We had such an incredible time in the studio and ran wild with some electronic drum sounds and some impromptu vocals. We love the blend of sparkly synths and smooth guitars along with bold, fat drums and bass lines. This song ended up inspiring the album title, Talkie Talkie, which has a cheeky ring to it. We could imagine it in neon lights outside our imaginary club. We had a great time with some retro phones and 90s bedroom setups, and dancing our lives away!” Watch the video, directed by Tom Mitchell, below.

With their Crown The Witch headline tour just around the corner now, Bambie Thug has unveiled a brand-new single to celebrate. Entitled ‘Hex So Heavy’, the killer track is described by the singer as “a witches’ siren, a warning to those who have crossed me. This song channels the energy of those experiences – deception, betrayal – and turns them into something transformative: strength, resilience. It’s a reminder to those who have wronged me, that life has a way of making sure we all face what we’ve set in motion. As Jojo Siwa says, ‘Karma’s a bitch…’ and it’s about to come around.” Speaking about the accompanying video, Bambie reveals: “I was thrilled to collaborate once again with Camp Productions, who worked with me on ‘Doomsday,’ for the ‘Hex So Heavy’ video. Kassandra Powell, one of my favourite directors, brought her incredible vision to this project, and our creative chemistry was undeniable once again. “The video tells the story of a shapeshifting witch conjuring spells of revenge from the underworld, and a cunning nymph above ground who has stolen a magical machete from the witch. The nymph, basking in her ill-gotten gains and the adoration of others, believes she’s escaped unscathed. But little does she know, the witch has been watching and waiting to strike back. Drawing inspiration from Suspiria and Lord Of The Rings, ‘Hex So Heavy’ is the first chapter in a saga about reclaiming authenticity stolen by another.” [via Kerrang!]

‘NASTY’ finds Kate Leah sticking to her viral breakup anthem formula in a song that’s all about swiping an ex-boyfriend back from his new girl. Described as “guaranteed to inspire you to drunk text your favourite ex,” ‘NASTY’ is paired with a music video that shows Kate’s bedroom antics as she plots to win back her ex. [via Rolling Stone Aus]

Global superstar singer/actress/versatile powerhouse Halle delivers a sublime new sound with latest single release ‘Because I Love You’. Co-penned by the British phenom Raye, ‘Because I Love You’ introduces a new side of Halle—mature, confident, and ten toes down for her paramour, while also playfully reminding him of her own worth— “you ain’t used to girls that can do it high fashion, you f* with a ten, amen.” As Halle reflects, “‘Because I Love You’ is a song for anyone who has ever been deeply in love. It’s an anthem that tells the story of all of the beautiful passion and euphoria you can feel with that person.” She then touches on the song’s accompanying visual. “The video dives deeper into how vulnerable it makes you feel. I hope people enjoy listening and thinking of the person they love the most.” The song was produced by Grammy nominated producer DemJointz who has worked with artists including Rihanna, Kanye West, Janet Jackson, and more. The song arrives with an official video produced by Lottie Abrahams and directed by Allie Avital. The cinematic official video, features stunning visuals, Halle is once again showcasing her acting chops, impressively playing multiple roles—both as the innocent and devoted girlfriend to her love interest and the sultry temptress threatening to pull them apart.

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Lucy Rose swoops back into view with new single ‘Whatever You Want’. The English songwriter has really been through it, becoming a mother and enduring health issues. With her mobility restricted, a sense of isolation creeped in, as well as an enduring awareness of the beauty of small moments. New album This Ain’t The Way You Go Out will be released on April 19, preceded by the introductory tracks ‘The Racket’ and ‘Could You Help Me‘. New song ‘Whatever You Want’ is endlessly beautiful, the softness of her approach matched to a calm assurance. Lyrically, she explores parenthood, the feelings of watching her son grow during a time of real uncertainty. Lucy Rose explains… “I think a lot about my son Otis’s future, and instead of having a grand, extravagant life, I just want him to be happy, it’s very much how I feel about my own life now. The things I really dream of and care about are so different now, so many people I know are struggling in different ways, a lot with their own mental health and I just want them to be happy. I think the pressures of society can be a real contributing factor to their unhappiness. I paired this idea with my own personal experience of suddenly feeling so helpless during the time my back was most in disrepair, and then the moments when I was able to walk down the road to my local cafe again and the huge amount of joy that gave me, just being able to do the small and simple things in life again. I distinctly remember thinking, if this is all my life is from now on, just being able to get out the house and doing these small things then I’ll be happy.” Shot alongside film maker Zach Scheiwiller, the video takes Lucy on a night-time stroll around Brighton, with “no plan at all, all instinct based…” [via Clash]

South Korean singer BIBI has released the music video for ‘Sugar Rush’, featuring appearances by (G)I-DLE‘s Soyeon and Choi Yena. In the clip, BIBI performs the song in a colourful, candy-covered set, while wearing outfits that resemble sweet confectioneries. Meanwhile, Choi Yena and (G)I-DLE rapper Soyeon make special cameos as controllers of a claw machine that feed BIBI candies. “I’m sweet, like candy / You could look don’t touch / Don’t try to get handsy / You get sugar rush,” BIBI sings on the chorus of ‘Sugar Rush’. The song was originally released on on February 13 as part of her special single album Bam Yang Gang. [via NME]

Los Angeles based EVOCAPOP artist R E L has shared a new music video. Entitled ‘Intuition’, the emotionally raw and powerful track delves into the profound journey of self-discovery, emphasizing the importance of embracing vulnerability and truth. Her poignant lyrics tell the story of her own recovery, one of healing from a desensitized and overstimulated culture that many of us experience in the modern western world. She confides, “We are conditioned to believe that we need validation or likes or certain status markers, or a certain amount of money or body type to be successful, to be likeable, to be valuable, when we really are all so valuable inside- underneath the facade we’ve built is a society aching for authenticity.” In the accompanying music video, R E L takes on the persona of a pierrot, symbolizing the facade we often wear. As the video unfolds, she sheds her costume and mask, revealing a newfound freedom and inner strength. The cinematic visual beautifully captures the essence of the song’s message, that by stripping away our protective layers, we can discover resilience and the power within.

Natasha Khan last released a Bat For Lashes album in 2019 with Lost Girls. Now, she’s announcing its follow-up, The Dream Of Delphi, and sharing the title track. It comes with a video produced in collaboration with creative director and choreographer Alexandra Green and directed by Freddie Leyden. “This is the manifesto of the album,” she said of the song. “It’s like a spell being cast. It’s the conjuring, the manifestation, the drawing-down of Delphi from the ether. This is me calling on her soul. It’s about going up into the stars and down into the underworld simultaneously, how celestials and deep guttural sounds can come together, how that reflects the journey I went on. It’s about what happens when you’re stretched physically, mentally, even vaginally! I think it’s just humbled me, too, becoming a mother. It’s made me feel more vulnerable than I’ve ever felt before. But I feel more human, more embodied. I can’t escape life by making beautiful things as much as I did. But there’s sort of a beauty to my mortality now.” During quarantine, Khan gave birth to her daughter Delphi, an experience that was formative for the LP. “Motherhood I thought would take me away from my art, but it opened up this massive world,” she said. Last year, she also released a hand-illustrated Tarot deck called Motherwitch. It was done in collaboration with the wellness brand She’s Lost Control. [via Stereogum]

KAETO releases her new single ‘Don’t Ask’ via Lava/Republic Records. The emerging London-based artist is fast carving a space for herself with her unique genre-spanning sound that blends elements of trip-hop, dance and electronic music with punk, alt-pop and more. ‘Don’t Ask’ comes with a video directed by Kaeto and her creative collaborator Maisy Banks and was produced by Max Rad. “In this song I am writing about my relationship with myself”, Kaeto says. “Maisy and I directed the video. The video is a celebration of our skin and the beautiful human body. Liv Lockwood is the incredible choreographer that we worked with. She has an amazing brain and she really understood what we were trying to create. The choreography perfectly encapsulates the internal struggle we experience that is reflected in the song and I loved the use of the symbols of teeth, the mouth, hair and the tongue.”

Last month, Shannon And The Clams announced The Moon Is In The Wrong Place, their new album that they started working on following the tragic death of bandleader Shannon Shaw’s fiancé Joe Haener. They shared ‘The Moon Is In The Wrong Place’ at the time, and now they’re releasing ‘Bean Fields’ with a music video directed by Vanessa Pla and animated by Amber McCall. ‘Bean Fields’ focuses on Haener’s family farm in Aurora, Oregon, which was the site of his fatal car accident but remains a beautiful meeting ground for his family and friends. [via Stereogum]

The 20-year-old newcomer Raven Numan shares a beguiling statement-of-intent as she shares her debut single ‘My Reflection’. ‘My Reflection’ achieves a haunting melancholia that blurs the boundaries between the modern dark-pop scene and the dark intensity of classic ’80s goth and industrial – all while exploring contemporary conversational issues that affect young women all over the world. Her voice is both sultry and elegant, yet with an emotionally detached air that complements the song’s take on the horrors of body dysmorphia. It’s the result of her ongoing creative collaboration with Ade Fenton. Raven says, “‘My Reflection’ is about the unrealistic beauty standards that have been pushed on us since adolescence. We’ve been fed lies about beauty from a young age through countless mediums: lingerie models, makeup commercials, even cartoons employ beauty standards. They try to tell you that these products, this makeup, or our underwear will make you look and feel amazing but that’s not the case. They feed your insecurities and then try to sell you something to make it all better. It breeds self-hatred and insecurity, and both myself and the overwhelming majority of women I know suffer from the unrealistic beauty standards of today.”

Canadian electro-pop sensation, Kiesza releases an electrifying new dance floor single, ‘Dancing and Crying’ featuring Sugar Jesus. This marks the second track of new material from Kiesza’s long-awaited forthcoming album, also called Dancing and Crying: Vol. 1, scheduled for release May 24. Produced by Sugar Jesus (One Direction, Little Mix, Mario), ‘Dancing and Crying’ blends elements of electro-pop and house styles offering listeners an up-beat and immersive dancing experience. In this epic dance-pop whirlwind, Kiesza collaborated with Grammy-nominated songwriter K Sotomayor (Selena Gomez) and Sugar Jesus to write the track. ‘Dancing and Crying’ channels Kiesza’s dance music roots while embracing captivating pop styles reminiscent of artists like Dua Lipa, Kylie Minogue, Sophie Ellis-Baxter, and Raye. “My new song, ‘Dancing and Crying’ was the initial spark that launched this upcoming volume of music. It was the first song Sugar Jesus and I began, and the last to be completed for this volume. ‘Dancing and Crying’ is an Opus. A series of contrasting musical ideas, woven together by a foundation of house beats and bass lines, bridges the gap between my folk origins and the dance music that marked my place on the global map,” states Kiesza. “When my close friend, Grammy-nominated songwriter K. Sotomayor, joined our bite-sized writing team, we revisited this song with fresh ears. Together, the three of us brought it to completion, with a new perspective on the journey we had embarked on, both together and individually. So, in a way, ‘Dancing and Crying’ is both the beginning and the end of Vol. 1. You can think of this title track as the MC of the show, preparing you for what lies ahead. This song is the catalyst for all that has come and will come to pass in this chapter. From its womb came the vision as a whole, from which all else has and will unfold.” The accompanying video was shot at the Raven in Toronto and it was done on a whim. Kiesza was doing a photoshoot and instructed the director D. G Hagey to start filming.

Allie X has shared startling new single ‘Weird World’. The songwriter has carved out a unique niche, subverting pop tropes while also excelling in them. A technically gifted artist, Allie X also brings to the table a gleeful sense of rebellion, infusing each song with her vivid personality. Having written for the likes of Troye Sivan and BTS she’s dealt with some major league players, but this has pushed Allie X away from her solo catalogue. New album Girl With No Face is out now, her first major project since 2020’s Cape God. New single ‘Weird World’ is out now, and it relishes 80s tones – analogue synths pushed to the limit, the audio counterpart to those sensational Dynasty-style power shoulders. She lets the sonics dip a little, though, her playful, DIY approach reminiscent of the retro-futurist fetishim of John Maus, say, but delivered in a vey melodic, sincere format. [via Clash]

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