Olivia Rodrigo has dropped the music video for ‘get him back!,’ one of many highlights off her brand-new sophomore album GUTS. ‘get him back!’ is as much about seeking revenge on a former partner as it is about wanting to kiss and make up with them. So, it’s fitting that the tune’s music video features no fewer than eight identical Olivias, almost as if they’re each representing one of the contradicting voices in Rodrigo’s head telling her to key this scumbag’s car — but wait, what if she can fix him?!?! The surrealist clip was directed by Jack Begert, who’s also behind similarly eye-catching music videos like Doja Cat’s ‘Juicy’ and Amine’s ‘Blackjack.’ This one boasts no shortage of smashed car windows, trashed bedrooms, and thrown steak knives, but the good news it looks like no Olivia Rodrigos were harmed in its making. [via Consequence]

Synth-heavy post-punk upstarts Home Counties have finally returned, after slipping away from the public eye following a jam-packed 2022. Last year saw the band release the fantastic EP In A Middle English Town, followed by a relentless live schedule, and a move to London. Now, ahead of a much-anticipated debut full length, Home Counties have released a stellar new single, finally ending their time away. ‘Bethnal Green’ is three minutes of nothing but hooks. The opening synthesiser motif is so off-kilter and distinct it becomes a hook of its own, the band toying with the vintage tones of artists like DEVO and Kraftwerk but inject it with a shiny pop polish. Synthesisers have always been a staple of Home Counties’ sound, but guitars truly are a foundation this time around, leaving plenty of space for the cascading wall of synths. Lois Kelly’s primary hook is arguably the band’s catchiest yet, the melody enchanting, the stacked gang vocals enduring. Home Counties have returned with a bang, to say the least. Their time in hibernation has clearly involved no rest or relaxation, the first glimpse of their hard work being the absolutely fantastic ‘Bethnal Green’. [via Clash]

ratbag opens a portal into her weird world of shoegaze with latest single ‘exit girl’. The burgeoning star’s talent extends way beyond that of an internet personality. ratbag is a multifaceted artist beckoning mere mortals into her wild world of art, work that bleeds beyond the sonic realm and into the freaky horrors and mesmerizing drama of the visual space. Surrealism bleeds out of otherworldly places, and it is one of the most compelling concepts for fans of mind-boggling stories of fiction to seek out and admire. Whether it be something of music, sculpture, animation, or story, it’s rare for an artist to fully immerse themselves in each of these encompassing realms at once, but then again, ratbag is not one for the ordinary. Following the release of her latest single and music video for ‘exit girl’, that idea is especially apparent. Simmering in the worlds of punk and shoegaze, ratbag’s latest release comes only recently after her introduction as a musician. Her debut single ‘rats in my walls’ came out in July, and already the artist is displaying a confidence that is especially apparent through the world of horror shown in the music video that accompanies her new release. The music video for ‘exit girl’ is the world’s first taste of ratbag’s unique visual style and is also the first look into the lore behind the artist. For starters, the music video introduces ratbag’s team of fictional bandmates, each representing a different aspect of her personality. The band are made up of animated monsters going by the names Deemo, Eugene, Slug and Fritz, reminiscent of other ambitious groups like Gorillaz or even Dethklok. Matching the horror-inspired elements of this music video is, of course, the song. Carefully calculated in its many independent rhythms, beats pulse in time throughout ‘exit girl’. The song is something of a scrappy little robot that blisters with life as it thrashes between the verses and choruses. Buzzing with personality and a lively fortitude, the track will lure in lovers of alternative and punk sounds especially. Beyond sound, it’s an addictive narrative, too. ratbag explains, “This claustrophobic circus of clowns is getting old. Sometimes, we just want out.” Featuring scratchy electric guitar and catchy piano chords, it’s a song that’s easy to love in its complexity. [via Line Of Best Fit]

FLOSS is set to mesmerize listeners with her latest EP release, Replica Of My Heart. After being hailed by VOGUE as one of the most exciting musicians in the German-speaking region, FLOSS delves into speculative “what if” future scenarios reminiscent of Black Mirror, apocalyptic themes, and her ambivalent inner world. The Berlin-based winner of the Lollapalooza Newcomer Contest transforms romantic-bittersweet futuristic fantasies and traumatic experiences into highly hypnotic pop songs. In a Matrix-esque world of organ scarcity, FLOSS’s zeitgeisty feminist fantasy pop collides with hypnotic and edgy sounds, and heartbreak merges with dystopia on the EP’s title track, ‘Replica Of My Heart.’ The accompanying short film features FLOSS portraying her own clone, created by the ‘Replica Of My Heart’ services in a Matrix-esque world suffering from organ scarcity, all in an effort to obtain her unharmed heart. The serious and personal background is made evident through the visuals, which build upon FLOSS’s first music video with Joko Winterscheidt, where they advocated for organ donation alongside Junge Helden e.V. [via Kaltblut]

Platinum-certified Filipino-American artist Bella Poarch returns with a new single, ‘Crush’, which features Lauv. “’Crush’ is this fun, brighter side of me that I’m excited to showcase. The song itself is light, cheeky, and it gives you the flirty feeling of butterflies in your stomach that you get when sparks begin to fly,” Poarch says. “It’s about being in the moment and indulging in the simple things like binging Love Island, or having an innocent crush without overthinking it (which I’m guilty of). Lauv is such an incredible artist and being able to work with him is such an honor. He’s one of the sweetest people I’ve ever met, and I LAUVed working with him.” Lauv added, “‘Crush’ is about that feeling when you’re into someone but don’t wanna cross the line cause it’s so fun just being slightly into them.” [via The Line of Best Fit]

Mitski celebrates her album release, and that’s not all: It comes with a video for ‘My Love Mine All Mine.’ In the short, directed by A.G. Rojas, Mitski builds a precarious tower of dining chairs, balanced on a little egg, and embarks on a gravity-defying dance to the top. Watch it below. [via Pitchfork]

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17-year-old, NY-based recording artist Sky Katz has debuted the official video for new single, ‘Why Did You Call?’ A gorgeously-shot visual brimming with poignancy, heartbreak, and biting emotion, Sky delivers her strongest video to-date in a lush display of the intricacies of young love depicted as a stunning short film. Detailing the concept behind the video, of which she wrote the treatment and self-directed, Sky notes: “I had been waiting to make a short film/music video for such a long time. I just haven’t felt like I had the right song for it just yet. Once my song ‘Why Did You Call?’ came out, I realized that this would be the perfect song to make my vision come true. I had in my head exactly what I wanted the video to be and look like. I created a treatment, secured the locations and talent both behind and in front of the camera, including Savannah LaRain who co stars with me on our Netflix series Surviving Summer. We play love interests in my film, which I am so excited to share with my fans. An important part of the inspiration behind this video is for people see a story normalizing young, gay love because it’s so much more rare to see than the usual straight storylines. Whether you relate on a personal level or if you’re just seeing how normal and healthy a same sex relationship is, I find it extremely important to represent and show a relationship like this, especially knowing a large part of my demographic are young kids. I am very pleased with how the video turned out, and I think/hope everyone is going to love it.”

Sydney-based artist Ainsley Farrell has shared her latest single and video ‘Buffet’. This is the second single from her sophomore album, Dirt, set to be released early 2023. Ainsley had this to say about ‘Buffet’: “This song came from a place of feeling angry, powerless and minimized after a few different experiences where men thought they could violate my space and then just go about their day. The main experience the song touches on is when an old man hit on me at a buffet by comparing me to the food. I made excuses for the men who inappropriately hit on me, groped me, and shoved me. Singing this song helps me take back my power and stand up to them when I wasn’t able to at the time.”

After emerging as a viral phenomenon, 20-year-old Mississippi-born and Nashville-based singer, songwriter, producer, and multi-instrumentalist Sarah Cothran has released the official video for her debut single ‘Baby Why’ via Republic Records. On the track written by Cothran, she leans into a classic throwback vibe with a resounding refrain punctuated by her dynamic vocal range. About the video Sarah commented, “I was inspired by a lot of vintage sounds when I was writing and producing ‘Baby Why’ and I knew I wanted to carry that out into the visuals surrounding the song. In the music video I’m arguing with ‘my boyfriend’ on the phone while watching television. The song involves a lot of back and forth in a toxic relationship and I feel like the beginning scenes really captured that. I then start zoning out and imagining myself in different TV channels. I wanted to make sure to keep a nice balance of the 50’s era inspirations while also staying true to me, and this felt like the perfect way to do so. It was such a cool way to show my personality and combine a lot of the time periods that inspire me in both music and fashion. I got to dress up in so many different outfits and makeup looks so it was like a teenage dream come true!”

At just 17 years old, up-and-comer flowerovlove is quickly blossoming into everyone’s chic, new bedroom-pop fav. Drawing inspiration from artists like Tame Impala, the artist’s love of nature and an earnest approach to songwriting has her living up to her namesake, reflecting the beauty and natural growth of a flower. Coming off the back of her previous single, ‘Hannah Montana,’ flowerovlove returns with her latest offering, ‘Get With You.’ Full of sunny guitars, hand claps and a punchy refrain, the psych-pop confection sees the artist curiously muse over a burgeoning crush with a playful mix of nostalgia and wistfulness. “‘Get With You’ is a mindset of going after something you want,” flowerovlove explains. “Needing, wanting and urging to ‘get with it.'” The track arrives alongside a new visual directed by the artist’s brother, Wilfred Cisse, that shows flowerovlove followed by an obsessed doppelganger from London to Los Angeles. Equal parts Scooby Doo hijinks and David Lynchian existential horror, the music video juxtaposes the song’s light-hearted atmosphere with a mounting sense of paranoia, as flowerovlove’s stalker escalates from popping out of a pool and drinking her leftover tea to hiding out in bathrooms and eerily looming in her backyard. “The ‘Get With You’ visual is a metaphor for chasing after your higher self, chasing after the person you want to be, your dreams and your goals,” the artist says. “Joyce is going after flowerovlove from London to LA to pursue her dreams.” [via PAPER]

With three EPs to their name and having shared stages with the likes of Grinspoon, Amyl & The Sniffers, Clowns, Cosmic Psychos, DZ Deathrays, WAAX and many more, it would seem like the time for alt-punk-rock four-piece VOIID to release an album may be edging near… which now we get the first taste of in the form of new single and video ‘Lexapro’. A nostalgic and chaotically harmonious cut of 90s leaning alt rock goodness, ‘Lexapro’ pairs clean tremolo guitar lines with big distorted riffs and an undeniable anthemic chorus with vocal powerhouse Anji Greenwood’s irresistible delivery the sonic cherry on top. Of the single the band explain, “’Lexapro’ is a huge rant about coming to terms with the realisation of what place women hold in the world, struggling with the intricacies of your mental health and the frustration that comes with wanting to open up but fearing if people will listen. It’s about feeling forever unheard, forever less than, forever inadequate”. ‘Lexapro’ comes with an appropriately fun and trippy video, channelling a little bit of ‘Black Hole Sun’ by Soundgarden vibes across it’s fever dream style visuals and rotating scenes that are sure to remain in your mind long after the video finishes. [via Pilerats]

Black Honey have returned with new single ‘Charlie Bronson’, which marks the group’s first outing of 2022. ‘Charlie Bronson’ is Black Honey’s first new release since their Written & Directed album landed in March last year, and is teamed with a Craig Hemming-directed video. Lead vocalist Izzy B. Phillips says of the new outing, “There’s a personality in my head that feels like Britain’s most notorious prisoner. Sometimes I can’t make sense of anything. It’s a bind of frustration from having to constantly present myself in a way that society accepts. My mind works differently. I say all the wrong things. I hate being ‘ladylike’. I was punished so much for what I know to be my good qualities; a strong minded neurodivergent person who is creative, inquisitive, excitable and in my own universe.” “I was medicated, my shine dimmed and I began to see how the world rewards women who turn invisible,” she adds. “‘Charlie Bronson’ is my rage.” [via Line Of Best Fit]

Singer-songwriter-producer Nina Diaz, premieres new alternative/rock video single ‘Holy Mary Mother In Me’ as a declaration of autonomy in the face of laws rescinding abortion rights. The track which recalls artists like Stone Temple Pilots, Kate Bush, PJ Harvey, Babes in Toyland, stems from her upcoming studio album titled, I Could Be You, You Could Be Me, which drops on August 18. On writing and performing the song ‘Holy Mary Mother In Me’ Nina Diaz says: “I have a chaotic spiritual practice. I pull, with respect, from many religions and form what make sense to me. Mother Mary in Catholicism represents strength to me and goddess energy. Archangel Michael helps cut energetic cords that stop you from moving on or healing. When I first wrote this song, I was in the process of breaking free from authority. Now this song means even more to me when I perform since people in power are banning certain rights for women in Texas. There have been times on tour, or here at home, when passing an abortion clinic, anti-choice groups would not only carry photos of fetuses, but they would hold up images of Mother Mary. Yes, in Catholicism she does represent purity and life. But to me she also represents strength, choice, individuality and courage. Considering the recent ban on abortions in Texas, I feel this song, and the symbolism in this video represents the frustration of what it feels like when someone tells you what you can or cannot do with your own body. Especially when you are feeling lost, or stuck, or at a crossroads. As I mentioned before, Mother Mary is a badass in my eyes, and I am interpreting what it’s like to break free from the fears of others, and to have the right to make decisions for your own life.” The video was directed and edited by Nina Diaz, and was shot with the help of camera assistants Carly Garza and Ann Correa. Discussing the video production Diaz says: “There is much symbolisms in this video. I draw inspiration from Pamela Colman Smith’s illustrations used for tarot card decks. I also bring back the theme of “shadow work” as I include a shadow dance as part of the visuals. I want to share how the tarot cards are interpreted here: Two of Swords represents a stalemate, truce or being at a crossroads. Three of Swords represents a fundamentally sorrowful experience. Eight of Swords a feeling of being trapped and victimized. Ten of Swords represents destruction, being pinned down by a multitude of things or situations. I cut the ties binding me as the Eight of Swords, freeing myself to make a choice and embrace my power after feeling lost for so long.”

Night School’s forthcoming third album Invoke clearly reflects the band’s come-up within various West Coast rock circles, with the scuzzy sunshine pop of Best Coast and the tunneling shoegaze of Nothing both rearing their heads on the album’s early singles. The second single from the project arrives today, with ‘Tunnel Vision’ hitting that balance perfectly, thanks in part to production from ex-Nothing instrumentalist Nick Bassett. “‘Tunnel Vision’ just sort of spilled out of my head one night,” the band’s Sarah Vyeda shares, noting that the pandemic inspired her to spend more time with her guitar. “After I had written out the rhythm and lyrics, it came together pretty quickly and was one of the first songs we recorded for Invoke. I love the heaviness and chaos music can convey, and I wanted to feel that when writing my first song.” The track arrives with a visual directed by the band which blends Midsommar’s sense of sunlit horrors with the dreamstate imagery (and, notably, the white dresses) of Picnic at Hanging Rock. [via FLOOD]

Early in 2020, during the twilight hours of an otherwise uneventful Sunday, the sky turned a lurid shade of orange with the air carrying greater qualities of smoke than a West Auckland shed party. The sun grew so dim you’d be convinced it was barely a spark from a Bic lighter, blotted out by a thick blanket of smog which had drifted trans-Tasman from the bushfires raging in Australia. Given the extremely low light and poor visibility, I didn’t even think it was a good idea to drive that day let alone film a music video. However, that is exactly what dream-pop sensations CRUSH and co-director Martin Sagadin decided to do, setting their haunting, dub-infused new single ‘Abstract Oils’ to the backdrop of weather conditions fit to hail in an apocalypse. CRUSH, if you haven’t yet crossed paths with them, is something of a “supergroup”. Comprised of Richard Larsen and Bevan Smith from Ōtautahi’s Glass Vaults, Charlotte Forrester of Pōneke sibling ensemble Womb and Cory Champion (Borrowed cs), the band serve lush, ethereal melodies with rich textural depth. The ghostly vocal harmonies of ‘Abstract Oils’ weave between each other, wistfully pulling the listeners attention between acoustic elements as they arrive and depart from the mix. It’s engaging listening which floats breezily from movement to movement — not unlike the several thousand square kilometres of bushfire smoke that showed up just in time to shoot one of the most beautiful music videos you’ll see this year. [via Under The Radar]

Christabel (the solo moniker of Tāmaki Makaurau’s Christabel Williams) has unveiled spiky new soul-pop anthem ‘JEALOUS’, along with an eye-popping video co-starring Stranger Things actor Konstantin Podprugin. Flexing her acting skills in director Mason Cade Packer’s clip filmed with friends in LA, there’s definite shades of John Waters’ Serial Mom as Christabel prepares an outrageously gross dinner for her cheating hubby in the couple’s cosy ’60s retro suburban home. Stacking the catchy hooks and sawtooth synths perilously high, hit play on the knives-out visuals made with support from NZ On Air below and be aware of the accompanying content warning: mild adult themes, blood and cannibalism… Christabel says: “This song, unlike most of mine, is not based on personal experience this time! Jealous was carved from observing toxic relationships between friends and people I knew. The kind of relationship that really isn’t ever going to work, the kicking, screaming, on and off again, absolute chalk and cheese kind of relationship. This was my chance to put myself in their shoes, become a whole new character, and then do the same on-screen.” [via Under The Radar]

R&B singer and Dreamville associate Ari Lennox released her debut album, Shea Butter Baby, back in 2019, and she’s spent the past couple years putting out some loose singles. Now, she’s announced her sophomore album, age/sex/location, which will be out on September 9. It looks like out of that long string of singles, only ‘Pressure’ made the cut for the album, but now she is sharing another new track, the seductive and smooth ‘Hoodie,’ whose chorus goes like this: “Can I fit in that hoodie? I’m tryna get in that hoodie.” The track’s music video co-stars Isaiah Rashad. [via Stereogum]

Following a tantalizing pair of singles, Philly-based women punk rockers Vixen77 announce their highly anticipated debut album Easy Access, out October 14. Distributed via Megaforce Records (Metallica, Anthrax, Meat Puppets, Dirty Honey, Plush, etc.), the album features twelve tumultuous tracks recorded in an impressive seventy-two hours at Retro City Studios (Mannequin Pussy, Mitski, Lizzo, The Menzingers) that navigate life through love and rock ‘n’ roll. Alongside the news, they also shared their latest taste of the project with the single and video ‘Some Days’. A back-and-forth ripper, the track is about preserving one’s mental health, and accepting that some days, it’s okay to not be okay. The band expands, “It’s about mental health and how you have to try to be okay all the time. Some days you don’t because you don’t want to, and some days you won’t because you’re unable to.”

Sylvan Esso let their freak selves shine with the release of a resounding new album, No Rules Sandy. Created primarily over the course of three weeks that Amelia Meath and Nick Sanborn spent in a small Los Angeles rental home at the beginning of 2022, it is both the fastest the band has ever made a record, and the most uninhibited. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.” Out now on Loma Vista Recordings, No Rules Sandy is accompanied by a thrilling music video for the standout ‘Echo Party’. Directed by Lindsey Nico Mann (Major Lazer, Silk City, Teenage Wrist, Dirty Projectors, Alice Glass), the visual follows Meath as she raves from a downtown, warehouse dancefloor to the mossy ground of an otherworldly forest. Over wobbling bass, warbling vocals and ecstatic promise of a party you may never be able to leave, an exhilarating tension emerges between the lightness and darkness of a good time.

Danish superstar MØ has today released Motordrome: The Dødsdrom Edition, an expanded version of her recent album Motordrome, alongside a new single ‘Spaceman’, which are both out now via RCA. Featuring the 1996 #1 hit by Babylon Zoo, MØ’s new single ‘Spaceman’ is an upbeat and eccentric track that feels like an alternate reality rave and is accompanied by a mesmerising and dramatic video by Fa & Fon, who also directed the ‘New Moon’ video. MØ says: “I wrote my version of the song with Noonie Bao, Ilsey Juber, and Oscar Holter, building on the original version written by Jas Mann. It was Oscar Holter who had the brilliant idea to use the hook from Babylon Zoo’s cult classic ‘Spaceman’ as the chorus, and we all loved that idea! We wrote our demo back in 2017, but the timing just didn’t feel right. Then came 2022, and all of a sudden, I was like “it’s now!” We decided to rework the production a little bit – describing the vibe we were going for as “Gotham rave party” – and that’s how we arrived at the final version.”

Bella Poarch has released her EP Dolls, as well as a new music video for her track, ‘Living Hell’. The new EP includes previously released tracks ‘Build A Bitch’, ‘Inferno’ as well as title track ‘Dolls’. New single, ‘Living Hell’ also features on the EP as well as tracks ‘Villain’ and ‘No Man’s Land’, which features Grimes. “I’m really excited to release my first EP after starting this journey during lockdown,” Poarch said. “Dolls is my personal story of challenges and growth over time that I hope my fans can relate to.” In the sinister video for Bella’s latest single, ‘Living Hell’, the TikTok star is trapped in a room, something she’s previously discussed experiencing in childhood. According to a release, the video is meant to depict Poarch seeing her younger self, and realizing “the pain inflicted on her as a child no longer defines her life.” [via NME]

Jackie Cohen has unveiled her new single ‘The Valley’, which is taken from the upcoming album Pratfall. The track features Weyes Blood’s Natalie Mering on the 12-string guitar as well as backing vocals from Shaun Fleming (aka Diane Coffee). Check out its Marly Ludwig-directed video above. Discussing ‘The Valley’, Cohen explained in a statement: “This folk song is for the Valley girls and Ventura Boulevard pervs. It’s my most autobiographical song. A love letter within the context of Stockholm Syndrome. When I wrote this song, I was listening to a lot of Joni Mitchell and Radiohead and Paul Simon, all artists who have mastered the glitteringly pretty and haunted song about being back in a town. This song, for me, is like those big amalgamated memory sequences that happen in “Eternal Sunshine of the Spotless Mind” and “Vanilla Sky.” Both films are about these deeply melancholic characters who aren’t ready to reckon with themselves, and they kick and thrash and self-sabotage until they are so badly injured that they elect to undergo fantastic dystopian medical procedures meant to erase their pain and affect ignorant bliss. There is no bliss. Their formative memories bubble up and mash together and distort and zombify. When I wrote ‘The Valley,’ I was just beginning to notice the bubbling. It’s a sentimental song about the catastrophe of realizing who you are a second too late and the weirdly serene experience of looking back in grief as everything unravels. For a while, it really felt like I had escaped the trappings of my upbringing. It really annoys me how everything really does boil down to childhood. I think it’s really cool that we made an orchestral piece without an orchestra.” [via Our Culture Mag]

Mia Rodriguez has shared her third single for the year, ‘I LUV U’. “Loving people is hard, sometimes it can hurt – so much so, that it tears emotions in two different directions,” Rodriguez explained in a statement accompanying the track, which oscillates between acoustic guitar-driven verses and a heavily-distorted refrain. “[The lyric] ‘I love you so much I want to punch you in the face‘ isn’t literal, but it symbolises the overwhelming feelings which you can be impacted by from love,” she added. ‘I LUV U’ arrives alongside a Josh Harris-directed music video, which sends Rodriguez back to high school and has the feel of a horror film. “It was fun to take this video into a darker place that symbolises the overwhelming feelings that can be triggered by love,” Rodriguez said of the video. [via NME]

A dark angel has fallen straight into the pop charts. With twisted lyrics contemplating love, life, and death, DeathbyRomy sings and screams harmonies over tracks mixed with industrial noise. After working with Capitol Records on two recent releases, Love u — to Death and Songs For My Funeral, Romy Flores is back to being an independent artist, creating without boundaries—an approach that lead to her sexiest and most abrasive track to date, ‘No Mercy.’ In the song, Flores brought melodrama to hardcore, gently singing morbid lyrics: “Your nightmare is the man of my dreams / It turns me on when he makes you bleed / Mirror mirror on the wall, who’s the sickest bitch of all.” Following the steps of City Morgue, Flores is continuing to reinvent nu metal by instituting a guitar riff, screaming an almost Korn-like chorus and following a catchy pop structure. Adding more metal into her sound is a route that works well for the DeathbyRomy persona Flores fabricated at age 15. ‘No Mercy’ is explosive and electronic, appealing to the highly online culture of her generation. She is neither emo nor goth, both words never resonated with her—unlike the outcast label she recalls receiving in high school. Due to the bullying, Flores sought refuge in an online community—and after dropping out and earning her GED, she has emerged as an edgy pop star known for playing with trap and rock and roll simultaneously. With the track’s music video—a Phobia Films production directed by Flores herself, Gnarlos Wright, and Rake—released today, DeathbyRomy will be seen dancing in a cool-toned trailer park, lying on an abandonded railroad tracks, and locked up with her dangerous lover. She’s surrounded by neighbors, including little girls in babydoll dresses carrying rifles. It’s chaotic and creepy with vomited blood and strobe light flashes. [via Document]

London singer-songwriter Salt Ashes follows up previous single ‘Body Says’ with a new electrifying single ‘Didn’t See It Coming,’ The songstress spoke about it embodying her toxic take on a love song. Salt Ashes explains: “‘Didn’t See It Coming’ is my f*cked up version of a love song. It’s how an unexpected love managed to pull me away from a way of life I thought I wasn’t ready to leave until they slapped me in the face… metaphorically, of course.” Love flows in the air and latches on you when you least expect it. As Salt Ashes puts in, it usually blinds our judgment until we get metaphorically slapped in the face. The beginning ‘Didn’t See It Coming’ has the creeping escalation of what falling in love could sound like. [via Indie Music]

Canadian superstar Carly Rae Jepsen released a brand-new single last week, ‘Beach House,’ to promote her upcoming studio album The Loneliest Time. She had previously released ‘Western Wind’ just in time for her set at Coachella 2022, but ‘Beach House’ is keeping the momentum going even further for the album. In the music video for ‘Beach House,’ Jepsen is first seen having a conversation with two other women who are in committed relationships. While they reminisce about being single and think that Jepsen is living her best life, the singer notes that it isn’t easy out there in the dating scene. “You guys don’t know what it’s like out there,” Jepsen argues, before breaking out to sing her latest song. ‘Beach House’ is all about the roller-coaster ride of being single. Going on dates and meeting guys who she’s not into, who are taken, or who overpromise and underdeliver. Ultimately, these men are bound to “hurt your feelings,” Jepsen sings. [via Pride]

M.I.A. takes on influencer culture with the release of her new single ‘Popular,’ the latest preview of her upcoming album MATA. The track arrives with a creepy music video starring an “influencer-bot-in-training” fittingly named M.A.I. Over an uptempo dance beat propelled forward by tribal drums and celebratory horns, the British-Tamil artist sarcastically regurgitates empty phrases that often pour out of the mouths of influencers. “Love me like I love me,” she sings on the chorus. “Suddenly it’s about me/ You wanna be around me/ ‘Cause I love myself/ I’m living my best life.” In the music video, M.I.A. trains her robot counterpart by showing M.A.I. how to dance more fluidly and rap along to ‘Popular.’ At one point, that means reducing the influencer bot’s screen time. By the end of the clip, the fed-up musician decides it’s all an exercise in futility. Watch the Arnaud Bresson-directed clip above. [via Consequence]

Legendary indie rock group Yeah Yeah Yeahs recently released a brand new music video for their latest single, ‘Burning.’ This new single is off of their highly anticipated fifth album Cool It Down, the band’s first new album in nine years, which releases on September 30. The music video for ‘Burning,’ directed by musician Cody Critcheloe, is incredibly visually impressive, to say the least. The video features amazing choreography, set design and visual effects. These things, when combined with the creative use of colors and occasional subtitled dialogue for the characters within the video, create an incredible visual experience that is both surreal and energetic, fitting the song ‘Burning,’ incredibly well. [via mxdwn]

Australian queer pop artist Hallie introduces their brand-new single/music video, ‘Do It,’ a song capturing the longing for a romantic response. Hallie explains, “I wrote ‘Do it’ about trying to get into the swing of dating again and the child-like nerves of flirting. I was experiencing loneliness while simultaneously wanting to explore my sexuality and make new connections. I find that stage just as exciting as it is scary and confronting and this song is me being honest with how I was feeling and giving myself a push toward exploring those crushes.” The video for ‘Do It,’ co-directed by Hallie and Lili Pedrazzini, depicts Hallie at once elated over their new crush and frustrated by the lack of reciprocity. ‘Do It’ opens on emerging, trickling guitars topped by a soft, echoing voice. As the tune ramps up, it takes on the contagious heft and energy of alt-pop flavored with hints of alt-rock. Vaguely reminiscent of Liz Phair, the song pushes out potent leitmotifs intermingled with gentle, shimmering chapters. Hallie’s crème de la crème voice imbues the lyrics with deliciously nuanced tones, alluring and evocative. [via Guitar Girl Mag]

Singer-songwriter ella jane has shared a new video for ‘How Do I Lose You’ off her forthcoming project marginalia coming out October 28 via FADER Label (Clairo, Matt and Kim). Of the track, ella jane says, “‘How Do I Lose You’ is a quintessential example of how much I love to pair fairly unhappy lyrics with upbeat, danceable music. I get such a kick out of tricking the listener like that. So despite its quick pace and jumpy melody, the track is really about the anxiety of being in an undefined, ‘let’s see where this goes’ type of (non-)relationship.” Ella continues, “Musically, it’s definitely one of my poppier efforts, but I love the way the production kind of indie-fies it. Part of that is actually thanks to Orla Gartland (although I don’t think she knows it yet); I was really inspired by this video she posted a while back where she explains how she duct-taped the strings of an upright piano to create this muted, mallet-y sound in her song ‘More Like You.’ I tried the trick on my piano at home, and soon started bringing a roll of duct tape with me every time I went to the studio. It immediately became a really big component of the texture of ‘How Do I Lose You,’ and later many other tracks on my forthcoming project.” The video, directed by Aerin Moreno (Girlpool), mirrors this combo of lighthearted and doubt, with a very camp alien encounter that could have gone in a much more gruesome direction. It’s easy to laugh along with ella… the over-the-top makeup of the Seuss-like alien as he peeks through the window conveys the absurdity of how the non-relationship has become the norm. If we’re not laughing – if we’re not jamming to upbeat melodies – we’re crying. And now’s not the time for tears. [via Northern Transmissions]

Los Angeles pop star MIZZI is treating us to a vibrant end to the summer with her newest video for ‘BOMB.’ Directed by Adam Shattuck, the visual follows MIZZI as she embraces confidence, allowing listeners to dive into her world and feel just as empowered. With inviting graphics and a rain of color, the video is also a perfect representation of MIZZI’s sound – electric, capturing and fun. ‘BOMB’ is the most recent video off MIZZI’s previously released LP, SUGAR HIGH. “The ‘BOMB’ music video was so much fun to shoot,” MIZZI recalls. “We wanted it bright and colorful for the summer with an edge. The set, dancers and giant lollipops really made the song come to life.”

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Having announced that their debut album will be set for release this November, Brighton’s Currls have shared an uplifting new single. A colourful ode to female friendship and owning your own unique individuality, ‘Honey‘ is propelled by an empowering energy as lilting, catchy hooks flow alongside frenzied beats and unifying, singalong refrains. And, as the soaring, soulful vocals of front person Holly take the lead, an enlivening dose of twinkling, scuzz-filled garage-rock is created; an energising and compelling anthem of self-love that’ll motivate and inspire on first listen. ‘Honey’ is accompanied by a vibrant, DIY video showcasing femmes coming together to celebrate each other and themselves. The perfect, sparkling energy-boost you need on during this lethargic heat wave. [via Get In Her Ears]

The Australian singer-songwriter Gordi has been doing a lot lately — a single with Troye Sivan, a Dolly Parton cover, a Julien Baker remix. Next month, she’ll release Inhuman, a new EP that she recorded in studios around the world. We’ve already posted first single ‘Way I Go,’ and now Gordi has also shared ‘Inhuman,’ a song about about transforming yourself into a robot as a way of coping with earthly stresses. Gordi was a doctor before she became a full-time musician, and ‘Inhuman’ draws on that experience. Gordi sings through a computerized voice filter over swells of synth and guitar, and she captures a certain sense of sad-but-comforting disassociation. Here’s how she describes the song in a press release: “When I wrote ‘Inhuman,’ I was thinking about the blackened roadsides on my drive from Sydney to Lismore in 2019. I had to turn back halfway because the fires were too out of control. I was supposed to start work in Lismore Hospital on the Monday, where I would meet countless patients who couldn’t be discharged because their homes had been destroyed. Hearing one story after the next made me numb, and being numb to that sort of tragedy feels like forgetting to be human.” Check out the Triana Hernandez-directed ‘Inhuman’ video above. [via Stereogum]

ALASKALASKA will release new album Still Life on October 14. The project truly operate in their own lane, with core partnership Lucinda Duarte-Holman and Fraser Rieley using barbed electronics as a means to dissect pop tropes. Working with Marathon Artists, the group’s debut album provides them with a broad canvas to operate with. Jas Shaw – of Simian Mobile Disco – produces the record, blending Brutalist synths with sharp-edged melodies. New single ‘Still Life’ is out now, the curled digitalism underpinning a hypnotic vocal from Lucina Duarte-Holman. A kind of extra-dimensional pop song, it puts us in mind of everyone from Cabaret Voltaire through to Factory Floor, while still demanding you meet it on its own terms. [via Clash]

Next month, Jennifer Vanilla — the alter ego of New York-based performance artist Becca Kauffman — is releasing their debut album, Castle In The Sky. It includes the previously shared ‘Body Music’ and ‘Take Me For A Ride,’ and now Kauffman is putting out another single, an enticing, svelte, sinister earworm called ‘Humility’s Disease.’ Its Luca Venter-directed music video introduces another alter ego: Johnnifer Vanillo, a devilish figure plagued by two angels. Here’s Jennifer Vanilla’s statement: “Have you ever worried that there was something truly and absolutely wrong with you, deep down inside and from every possible angle? Sat on a secret feeling that you were an unlovable monster, a massive disappointment to the world, utterly rotten at your core? Feared that your instincts were completely fucked, that your anger made you evil, that your mind was an inhospitable trap you would never escape, that your own body would never do, that you ought to be ashamed of yourself, that the world wasn’t meant for you? Don’t be so humble! Johnnifer Vanillo is here to talk you out of it all. Johnnifer Vanillo is my alter ego’s alter ego— Jennifer Vanilla with the skin off, on the verge of spontaneous combustion due to intense internal friction. Toxic sludge is bubbling up, the guck stuck under the surface of the burning nether regions we condemn. Their monologue is an eruption, a confrontation, a coach’s pep talk to let the ego sing— if only to quell the inflammation and then settle into a balanced peace. In this world, the edges around “good” and “evil” dissolve into a puddle of damp, sputtering flames, angels and devil-figure swirling the elements of their supposedly oppositional poles into a perverse reworking of whatever you thought right and wrong ever were. There’s nothing wrong with humility— it’s just that too much of it can destroy you like a disease.” [via Stereogum]

DYLAN shares her anticipated new single ‘Girl Of Your Dreams’, her first release for Island Records UK/Republic Records. The track arrives alongside a new video, co-directed by Dylan and Carla Dauden. ‘Girl Of Your Dreams’ is a headrush of spiky energy that sits somewhere between pop perfection and a classic stadium rocker. The track is defined by a reckless sense of momentum, seamlessly merging alt-rock and pop sensibilities to create a sound that is unmistakably Dylan. Honed into its current form by months on the road, it is the product of a popstar who truly understands the power of live performance. “’Girl of Your Dreams’ is very simple and straight to the point.” notes Dylan. “The day I wrote it, I was feeling a lot of frustration towards someone who sadly had absolutely no interest in me. Ultimately, they hadn’t done anything wrong, so instead of writing a “screw you” song, I wrote a “want me!” song.

It’s all fun and games until your cheer squad tries to kill you. That’s the premise of Jackie Cohen’s new visual for ‘Moonstruck,’ the creeping, frenzied lead single off her forthcoming album Pratfall. In the video, directed by Sloppy Jane’s Haley Dahl, Cohen joins two pals for dance practice on a tennis court, but what starts out as a sunny choreo session eventually turns into a bloodthirsty chase through the hills. It’s a wild, campy ride, perfectly in line with the adrenaline and doom Cohen channels in the song. “Haley was really thoughtful about creating this video,” says Cohen. “She wanted to help me tell a story that was cinematic but also true and cathartic, and the cannibal-cheerleader concept came about sort of as a response to the cutesy, peppy, performative version of myself that exists but is actually pretty dislocated from the reality of me. I always felt like it was my responsibility in my life to remain small, unobtrusive, palatable, accommodating, and I developed this self-abandoning way of being in the world that was really corrosive to my identity,” Cohen continues. “We talked a lot about trauma, emotional fracturing, horror, the uncanny, the death moth that’s been following me around—appearing in the last shot as a charm—and about the relationship between femininity and screaming. So much of this record has to do with realizing in a split-second of delayed sentience and absolute panic that the quaint, idyllic, well-kempt, well-rehearsed dream has become a nightmare.” In ‘Moonstruck,’ that dream-turned-nightmare comes in the form of homicidal cheerleaders, but it also comes in the form of heartbreak and suburban dread. The song’s title, meanwhile, is a nod to the 1987 film of the same name, which co-starred Cher and Nicolas Cage. “Get the knife, get the big knife,” Cohen screams in the bridge, almost gleeful in her sense of duty, like a survivalist taking charge at the end of the world. But Cohen doesn’t sound fatalistic—she sounds energized. [via Flood]

In ‘Nomad’, ZADA confesses and even prides herself in being one.. “Pick up myself, and dust off this place/I’ll be the stranger with something to say/Constantly changing it’s been my way” she thoughtfully rhymes with a graceful Hip-Hop swagger that cuts through the air with very precise intent- with this song, she isn’t just letting us now that her transatlantic journey has turned her into who she is, but that it’s likely in her DNA too, and that a Nomad she will remain as she hops from stage to stadium across the globe in the years to come. It bears mentioning that the video features some absolutely stunning nature shots of beautiful British Columbia, and ZADA looks completely enamored with the place as she re-enacts scenes from her own pen. [via Ladygunn]

Bella Poarch has released her second proper single, and it’s got a video where Poarch and Grimes get into a super-powered sci-fi fight scene. Poarch’s Billie Eilish-ish new song is called ‘Dolls,’ and she recorded it with Sub Urban, the New Jersey producer who also worked on ‘Build A Bitch.’ Grimes didn’t have anything to do with the song, but she’s key to the video. Director Andrew Donoho‘s ‘Dolls’ clip is full of cameos from YouTube and social media personalities who are extremely famous to anyone under 20 and probably completely foreign to anyone who’s older than that (that’s me!). They include Bretman Rock, Dream, Valkyrae, Chloe Cherry, Ludwig, and Madison Beer. It’s got a storyline about Poarch, playing a one-armed robot, leading some kind of AI revolution. The clip ends when Poarch tries to attack the boss figure, played by masked Minecraft streamer Dream. Dream’s bodyguard is a glowing-eyed Grimes, who gets into a fairly well-choreographed fight scene with Poarch. There’s probably heavy stunt-performer involvement in this one, but the two performers had to do at least some of the John Wick stuff themselves. [via Stereogum]

Ellie Goulding is back with her first release of 2022, ‘Easy Lover’, which sees her team up with Big Sean. ‘Easy Lover’ is Goulding’s first outing as the lead artist since her 2020 Brightest Blue album, although she did feature on Silk City’s ‘New Love’ last year, and sees her collaborate with Big Sean. Goulding says of the new single, which is accompanied by a Sophia Ray-directed video, “I wrote ‘Easy Lover’ in LA with Julia Michaels after conversations about the age-old tale of being infatuated by someone cool and beautiful knowing that they will never quite feel the same. It’s about going back to the same dangerous person to feel alive when you know they have hurt people again and again before you. Having the legendary Greg Kurstin produce any song of mine is always a dream come true. He always understands the assignment!” [via Line Of Best Fit]

Demi Lovato has dropped a raucous new single, ‘Substance.’ The anthemic pop-punk number is the second track off their forthcoming eighth studio LP, Holy Fvck, out August 19 via Island Records. The song arrived with a video directed by Cody Critcheloe that nods to late ’90s and early ’00s pop-punk music videos. In the clip, Lovato stomps into a board meeting, joins some pals at a diner, and gets wild at a house party. The video ends with an appearance on a red carpet that features a cameo from Paris Hilton. ‘Substance’ was written by Lovato, Oak, Keith Sorrells, Alex Niceforo, Laura Veltz, and Jordan Lutes, and produced by Oak, Sorrells, and Niceforo. “I’m so excited to share another taste of what’s in store for this album,” Lovato explained in a statement. “We can all relate to searching for something more in life, and I want this song to make you feel like you’re having a damn good time while doing it.” [via Rolling Stone]

G Flip has shared a poignant new single titled ‘Waste Of Space’, wherein they reflect on and celebrate their non-binary identity. It comes in commemoration of International Non-Binary People’s Day, which is observed globally today (July 14). The song puts a unique spin on Flip’s established alt-pop style, with the artist singing emotively over a tight, droning electric guitar line and simmering string harmony. As the intensity of their vocal performance builds, so too does the instrumental, before it erupts into an explosive, drum-heavy crescendo around the two-minute mark. ‘Waste Of Space’ arrives alongside a music video directed by Nas Bogado, produced by Ash Davis and filmed by Sasha Paskal. In addition to Flip theirself, it features an eclectic cast of 19 people, all of whom are either non-binary or genderfluid. In addition, as Flip noted in a press release, over 85 per cent of the video’s crew identify as queer, and 55 per cent are gender non-conforming. “For everyone involved with ‘Waste Of Space’, it wasn’t just another day at work,” they said. “We are all passionate about the overall mission of my project to bring queer and non-binary representation to the world. Alongside the new single’s release, Flip shared an essay expounding on their personal journey as a non-binary person. “I wasn’t sure if I would ever release this song,” they admitted, explaining that they were polarised by the attention they’d received after coming out last June, but ultimately decided to release ‘Waste Of Space’ because “I know that if I had this song as a kid, it would have changed my entire life”. They wrote: “A few months ago, my gender identity was thrown into headlines and talked about more than I ever thought was possible. I’ve been flooded with messages and questions about being non-binary. There have been many positive messages including from parents reaching out and asking on how to best support their non-binary children, as well as messages from people who just want to understand what being non-binary is and means. But there have also been a lot of hateful messages about my gender identity and people even telling me that I’m not non-binary. As I receive more and more of these messages, I realise how much education the world needs when it comes to gender identity. Even though I wasn’t sure if I’d ever release this song, the more I thought about it, I realised how much the world needs this song.” Flip went on to discuss the ways their upbringing affected their relationship with the social construct that is gender. “My first memory of being confused about my gender was when I was seven,” they wrote. “I played with the boys and wore the boys uniform to school because I thought I was one of them. One day, the boys told me I couldn’t play with them anymore because I was a girl. I went to the girls table in hopes that I would belong there. But they also told me I couldn’t play with them because I was dressed like a boy. I was left in the middle, with no one to play with. The kids would call me a ‘waste of space’ and I was ostracised. This left me confused.” On how they currently perceive theirself in relation to the gender binary, Flip said: “When you Google ‘non-binary’ it says neither a man nor woman, but it’s so much more than that. It’s a spectrum. I’m not neither, I feel like I’m both. Everyone lies on a different part of the spectrum, even those who identify as a girl or a boy. Representation in the media matters. I, along with so many other gender non-conforming souls, are here. We are present and we are going to make noise so that this generation and future generations aren’t ostracised for being their beautiful, authentic selves. To anyone who’s ever felt like a waste of space, you’re not. You’re important, you matter, and you have purpose in this world.” [via NME]

Rose Gray has shared a brand new EP, Synchronicity. Featuring previous singles ‘Last Song’ and new track ‘Cupid’. On ‘Cupid’, she says: “’Cupid, cupid why are you so stupid? Don’t you think before you shoot it?’’ – do I need to say any more?! I wrote this song about how sometimes we fall for the wrong person. Cushioned between heavy breakbeat drums and 90’s house chords, I playfully joke about falling victim to love – again. When I wrote this song I remember thinking this truly captures that feeling of being out of control. I sometimes question if Cupid really is up there in the clouds with a bow and arrow.” [via Dork]

IC3PEAK‘s new track ‘Kiss Of Death’ is out now accompanied by a music video. The importance of Russian folklore is crucial in IC3PEAK’s work. The ‘Kiss Of Death’ music video features numerous elements of Russian culture. For instance, the men consume baranki and “blood” from the samovar. Additionally, the musicians stayed true to their typical simplicity and avoided any semantic puns. ‘Kiss of Death’s meaning is straightforward: “a woman feels upset that, while she is succeeding, she is not needed. She is only necessary while she is struggling.”

Never has an artist’s name felt more fitting than Spacemoth; Maryam Qudus’ sound is able to transport you into alien worlds, while still managing to feel ethereally light. In the lead up to her July 22 debut LP No Past No Future, Qudus’ liminal sound is slowly taking form. Latest single ‘Round in Loops’ continues to showcase her penchant for woozy distortion. ‘Round in Loops’ is a glittering haze of stardust. The track feels like a smear of nostalgia, distorted synths and gently muffled vocals unsettling yet oddly comforting. Snapshots of memories float by as Qudus’ experimental sound lures you in, the entire experience a quirky psych-pop delight. The single perfectly fits in with the tracks teased thus far; ‘Waves Come Crashing’ and ‘This Shit’ in particular are similarly jagged, capturing that same distorted tranquility of Spacemoth’s enticingly alien realm. Qudus’ push for unique sound has been somewhat of an uphill struggle due to her background; “Women are often discouraged from pursuing music in the Afghan & Muslim community, and those who follow that path receive a lot of heat,” Qudus has previously noted. Yet, despite those who may attempt to limit her art, Qudus is instead thriving, making a name for herself as a well-respected producer and composer in the scene. And, with her debut on the horizon, it’s finally time for her to allow her own wistful and complex mind to be heard. [via Clash]

Tami Neilson new album Kingmaker is out now with title track ‘Kingmaker’ now on video. Tami Neilson said of the clip: “It felt so fitting to work with an incredible team of women on this video for a song of empowerment, led by Director Alyx Duncan and Producer Emma Mortimer. Alyx really poured her heart and soul into making ‘Kingmaker’ come to life with her incredible attention to detail and she suggested approaching the owner of the historic St James Theatre located in the heart of downtown Auckland. The once-grand theatre that had hosted Queen Elizabeth herself in 1963 is now crumbling and dilapidated, shuttered for years as work to renovate it came to a standstill. This created the perfect symbolism for ‘Kingmaker’ – a group of women, alive and powerful, rising from the ashes of the old colonial institutions that once excluded and oppressed them. Art director and stylist Evie Kemp created the throne room and my crown, like a renaissance painting come to life. I wanted the visuals to reflect the cinematic feel of the song, which includes a choir of some of my dearest friends, Julia Deans, Anna Coddington, Bella Kalolo and Zoe Moon – all incredible New Zealand artists in their own right. I asked each of them to dress in what they viewed as regal and what made them feel powerful. (Bella wears Samoan traditional dress, Zoe wears cowrie shells- the ancient pan African symbolism of wealth and fertility, Anna wears a Maori necklace carving and a feather shrug that nods to the traditional Maori kākahu by indigenous designer Kiri Nathan) Having these women who support and surround me both in music and in friendship serves as a reminder that when we are united, we are so much stronger.” [via Muzic.Net]

Tell Elon, she said, “zoom, zoom!” On Friday, Cyn dropped her single ‘House with a View,’ the track she wrote while handling the not-so-fun aspects of being a new mom, as she manifests a good-ass life and luxury for herself (and her baby boy Etienne). “I felt like I was washing like baby bottle after baby bottle, and I was sitting there at the sink thinking, ‘If this is my life, like, it would be so much better if I could look out at a beautiful landscape,’ ” Cyn — the pop star signed to Katy Perry’s Unsub Records and behind the bop ‘Drinks’ — tells Rolling Stone over Zoom, hiding in her backyard, so her baby doesn’t see her on the phone. “Sometimes, I even pretend like I am on the ocean.” In the new song, she sings about wanting “that debt-free attitude” and hoping to see her “son with a trust fund by the time he’s four.” She also stars in a silly music video for the track, where she house and dog-sits for a “rich bitch living on Rich Bitch Avenue,” played by Katy Perry, while she’s away in Las Vegas for “literally 24 hours.” “I was like, how can I make this storyline work? Katy made perfect sense,” Cyn says. “I’m a songwriter trying to get a start in life with my art and my music. This is her way of being there for me as a mentor.” Perry describes Cyn’s new song succinctly to Rolling Stone: “Cyn is a savant songwriter and knows how to perfectly put into words the soundtrack to your late-night Zillow scrolls, and a musical middle finger to that student loan life.” In the video, Cyn completely takes over Perry’s house and pretends to live a lavish lifestyle in the mansion, bringing in an ice sculpture of her face, a personal guru, and an Architectural Digest-inspired photoshoot. Most of the folks featured in the video are a lot of the people who actually “support my art” IRL — including her fiancé Kyle Newman, who directed the video. “You’d think it would be something special, or it would be weird, but it just felt very natural,” she says of working with her fiancée. “I thought I was gonna be more nervous because he’s seen me give birth, and now we’re doing a music video. We’re collaborating on a lot now: children and careers. It was perfect!” [via Rolling Stone]

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