The accompanying video sees Namasenda deploying the full force of her creative vision. Slick, precision choreography collides with unexpected industrial imagery as solar panels, towering trucks, and dramatic lighting form a hyper-stylised visual world that moves with the track’s kinetic energy.

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The EP’s title, Chocolate Ashtray, is rooted in the absurd. “How stupid would it be to actually use chocolate as a material for an ashtray?” molto morbidi muses. “But I also loved the contrast—the sweetness of chocolate and the grossness of cigarette butts. It’s a poetic object, especially the morning after a party—it has a sense of joy that’s now lost, a feeling that comes through in much of my music.”

Her new single ‘Chocolate Ashtray,’ is steeped in layers of synths reminiscent of OMD, but with a playful piano line and minimalistic patterns that nod to experimental music icons like Terry Riley. Its infectious pop sensibility masks deeper reflections on merit and the value we place on our actions.

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‘Very’ was built from drums and voice upwards. Varrick, in her trademark sprechgesang style, freestyled many of the lyrics over ‘Very’’s robotic beat. The track includes birdsong, the pop of cans opening, and the gurgle of Varrick and Ed’s kitchen sink, maintaining the avant-pop couple’s knack of incorporating rogue sound palate’s into their artistry. Inspired by the likes of COBRAH, Coucou Chloe, Pet Shop Boys and Shygirl, Strange Flesh maintain that the single highlights their gleeful defiance of societal standards and the pressure to achieve.

Speaking of their new single, the duo explained: “Taking aim at societal standards as to how a life ‘ought’ to be lived, ‘Very’ is the anthem of a woman on her own deliciously precarious path: the soundtrack to beloved but ill-paying employment, discount decadence, no children, and a healthy disregard for the future.”

The accompanying music video, directed by London’s Jonathan Bower, eschews a live action narrative this time around in favour of a more abstract motif. Strange Flesh wanted a visual that reflected the chaotic yet propulsive inner landscape of ‘Very’’s protagonist.

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