Prominent acoustic guitar gives the track an unmistakable 90s alt-pop feel, carrying a little of that Daria-era melancholy before the arrangement gradually opens up around it. Each member takes a turn at the mic, their tender but controlled vocals bringing their own character to the verses before meeting in gorgeous three-part harmony for the instantly catchy chorus. LØLØ’s alt-pop influence feels particularly present, but the chemistry between all three makes Carrie Okay sound like far more than three solo artists temporarily sharing a song.

The accompanying lyric video leans into the track’s lovably mundane heartbreak, beginning outside a Denny’s before following the trio through LA streets, past a 7-Eleven and into convenience stores for snacks and Big Gulps. Whether walking hand-in-hand, sharing headphones or carrying their guitars, their easy friendship gives the wistfulness a little warmth. If heartbreak was enough to accidentally start Carrie Okay, perhaps something good was hiding on those shelves after all.

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Musically, Magdalene makes the whole thing sound like enormous fun. Huge pop hooks arrive with a sleazy indie-rock edge, while her theatrical vocal moves effortlessly between seductive, sneering and gloriously unhinged. The anthemic chorus is built to stick, and a jazzy breakdown later in the track pushes its showbiz theatrics even further. The sinister undertones may become clearer once you know the story, but the satire never feels gimmicky – beneath all the excess is a genuinely brilliant pop song.

The accompanying video gleefully commits to the bit. Magdalene revels in her role as the executive, surrounded by hopeful stars in a world of glamour, debauchery and deliberately overblown excess. Colourful, chaotic and unapologetically camp, it turns the industry’s familiar imbalance of power into something ridiculous enough to expose its ugliness. Weird, clever and ridiculously catchy, ‘Super Lucrative Jukebox Baby’ makes a compelling case for Magdalene’s self-appointed title: pop star for freaks.

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And ‘City of thirst’ is highly cinematic. Synths, horns and even flashes of flute create a dramatic, constantly evolving backdrop for RIVER’s breathy, seductive vocal, with the arrangement eventually soaring towards almost heavenly heights. There’s a haunting quality running beneath its beauty too, perfectly capturing that tension between recognising the danger and surrendering to it anyway.

The accompanying video takes the cinematic ambition even further, drawing heavily from Natural Born Killers. RIVER and her male counterpart recreate Mickey and Mallory’s unofficial bridge wedding before cruising the highway in a classic open-top car, surrounded by surreal, dreamlike and hyper-stylised imagery. The references are unmistakable but perfectly suited to a song about all-consuming attraction. ‘City of thirst’ doesn’t just explore toxic love – it makes the whole terrible idea look dangerously appealing.

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At just over two-and-a-half minutes, ‘Adore You’ doesn’t waste time, yet it never feels in a hurry to reach its destination. LIA LIA’s sultry vocal draws you in first, simmering above the restrained alt-pop instrumentation before the track begins to gather momentum. Right towards the end, jagged guitars push their way to the surface and her voice becomes increasingly powerful and cathartic. It’s not quite the huge, explosive grunge crescendo you might expect, but that’s what makes it work; the release feels emotional rather than purely sonic, with vulnerability gradually giving way to something stronger.

That cinematic quality carries through to the accompanying video, with its moody visuals giving ‘Adore You’ the atmosphere of a dark coming-of-age teen drama – the kind where complicated relationships, heightened emotions and late-night introspection are never far away. Short, slow-burning and quietly cathartic, ‘Adore You’ proves LIA LIA doesn’t need a massive explosion to make an impact.

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Dark, fuzz-soaked guitars set the tone before the track slowly expands into something far more powerful. While the instrumentation leans heavily into grunge, the melodies bring an alt-pop accessibility that keeps everything feeling effortlessly memorable. ALEIA’s vocal sits perfectly between the two worlds, carrying an Olivia Rodrigo-esque emotional directness that makes every lyric feel deeply personal as the tension steadily builds.

The accompanying video mirrors the song’s atmosphere beautifully, embracing its haunting, cinematic quality without ever overshadowing the music itself. It feels tailor-made for the soundtrack of a dark coming-of-age film, where heartbreak and revenge simmer beneath every scene. ‘Willpower’ is a reminder that not every song needs to explode from the outset—sometimes the most rewarding moments come from letting the tension build until it becomes impossible to ignore.

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Built around soaring pop melodies and an undeniable sense of euphoria, ‘Silvering Blade’ finds strength in contrast. Jazmin’s vulnerable vocal performance sits beautifully against lyrics that remain sharp and unsettling, creating a push and pull between light and darkness that keeps the song feeling emotionally charged throughout. It’s polished pop, but with enough bite to ensure it never feels predictable.

That duality extends into the accompanying visuals, where pastel satin, mermaid imagery and delicate beachside moments sit comfortably alongside spikey, gothic apparel, ominous masks, and the song’s titular blade. Much like the music itself, ‘Silvering Blade’ embraces softness without sacrificing its edge, resulting in a track that feels tailor-made for anyone who has ever found comfort in standing a little outside the crowd.

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From the outset, ‘Audacity’ balances delicate and explosive moments with impressive confidence. LIA LIA’s sweet, breathy vocals give way to a powerful, shout-along chorus, while jagged ’90s-inspired grunge guitars steadily build the song towards a cathartic finale. The contrast between vulnerability and strength is what makes the track so compelling, with each section adding to the growing emotional release.

Evoking the spirit of classic coming-of-age films, ‘Audacity’ conjures images of a teenager scribbling in a notebook while music blares from bedroom speakers, wrapped in moody lighting and restless emotion. Nostalgic without feeling derivative, the single captures that familiar mix of uncertainty, frustration and self-discovery, proving that LIA LIA’s new era is every bit as exciting as it promises to be.

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From its opening moments, ‘Medicine’ establishes an atmosphere of tension and unease before erupting into an explosive chorus driven by crushing guitars and powerful vocals. Sitting comfortably between dark pop and alternative rock, the track perfectly balances melody with a heavier edge, creating a contrast that feels both compelling and cathartic. Dela’s commanding vocal performance remains the focal point throughout, bringing emotional weight to every lyric.

The song’s gothic-inspired visuals further amplify its dramatic appeal, with striking imagery of white lace, a black tasseled chandelier and a dark forest mirroring the track’s emotional intensity. Bold, theatrical and emotionally charged, ‘Medicine’ is proof that sometimes the most powerful songs are found in the space between beauty and destruction.

The post Dela Kay balances dark pop and alt-rock power on new single/video ‘Medicine’ appeared first on She Makes Music.

Designed to “slap people off limerence and have them dance their situationship heartbreak away,” Katherine’s latest offering continues her signature exploration of modern dating dynamics. Drawing on personal experiences, as well as stories from friends, followers, and the wider digital landscape, her work dissects romantic archetypes with both humor and precision.

Blending biting wit and catchy hooks with pulsating avant-pop production, ‘THIS IS NOT A DRILL [for the player]’ transforms situationship heartbreak into a moment of clarity, empowerment, and release through radiant musicality and radiant melodies. Pulsing electronics and distorted guitar tones collide under the pointed lead vocals to create a euphoric, explosive and radiantly colourful soundscape. 

Talking about the recording of the single, Katherine explains: “Exasperation! Whether because of a non-committal, manipulating womanizer or an actual gamer glued to his screen, she is about to check out! This is a warning, an enough-is-enough declaration of upcoming independence from a situationship that’s simply not working out. And it comes from a woman tired of having to conform to what is traditionally expected from her, breaking societal rules as well as her own intergenerational trauma. And let him (just as he likes it!) hooked on a screen obsessing over what he’s lost.”

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Speaking of the track, vocalist Lynsey Ward shares, “I came across the book ‘A Spy in the House of Love’ by accident one day, and immediately felt compelled by how the phrase had organised a lot of messy feelings while being in the throes of a heavy break-up. There is actually very little that the book and our song have in common, but discovering it did catalyse a great deal of focus creatively and personally. Everyone at some stage has felt confused or betrayed in heartbreak, and we are far from the first to write a song about it. It is quite new territory for us, though!”

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