BEX says: “To end the year in silence would be unfaithful to people everywhere. In a world where struggle has become the new norm, where living paycheck to paycheck is standard, and children are growing up surrounded by hate and brutality, our society has become too afraid to speak out.

‘silence’ isn’t about being quiet — it’s an act of defiance, a bold strike meant to wake up the nation. We are silenced every day: by parents, by bosses, by the rules of our countries, by teachers, doctors, and systems that refuse to listen. It’s time to speak up, stand out, and stand together. ‘silence’ is the loudest and most aggressive track I’ve ever created.”

The single is paired with a powerful, storytelling music video that explores the silencing many of us have to deal with in a myriad of situations — poverty, bullying, sexual assault, boundary violations, and so much more. It was filmed in BEX’ home and around her local town of Northampton, a place rich with creativity far beyond the music scene. BEX says of the video’s cast: “Dedicated members of the Scum Club [her troupe of followers] travelled from across the UK to take part and stand up for what they believe in, some even acting out raw scenes of aggression and frustration. Alongside the Scum Club, the video also features my parents, my dog, and my grandad. I had no trouble finding people to be part of this project — it’s a subject that resonates deeply, and everyone wanted in.”

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Featuring Liz Ziegler’s commanding vocal debut, ‘Vain’ is a bold statement of empowerment. Its provocative narrative challenges listeners: “Do not mistake her silence for agreement.” The song is a reflection on how women endure constant belittlement and unwanted attention, using its intense sonic landscape to convey the weight of these experiences. It epitomizes the band’s unique fusion of doom, black, and gothic metal, bridging ethereal clean vocals with raw, uncompromising energy to create a powerful and immersive listening experience.

Set to take the world by storm in 2025, BEX has released her first music of the year with ‘crybaby’, a single addressing on-going female oppression that’s all-too ingrained in our society. Raw, real and fun, this is the first glimpse of a new BEX, feeling like she’s re-found her purpose. The instrumentation is punchy, lively, aggressive. The vocals are simple, one take, going straight back to basics. The music video, directed by BEX herself as usual, exemplifies her unique style and vision.

Written by BEX, alongside Sam Matlock (WARGASM) and Sam Cramer (Future Humans), ‘crybaby’ is out now on BEX’ own outlet “SCUM”.

“‘crybaby’ is a representation of female oppression,” says BEX, matter-of-factly. “Throughout history women have been deemed the weaker sex and the property of men. This track explodes those ideas. With references to a Molotov Cocktail, ‘crybaby’ represents the built-up rage exploding out of today’s women with the unjust still playing out all around them.

“In life, we can close our eyes to inequality and live blind and naive to the facts (the ‘crybaby’ eye masks in the music video represent this). It can be easier to ignore the ‘little comments’; it can be easier to not ‘cause a scene’; it can be easier to just ‘not care’. This doesn’t make it right; this doesn’t make it ok; this allows it to continue. It is our choice to remove the mask and fight back. You just have to be prepared for what you see.

“‘crybaby’ is about not letting go. It’s about holding that grudge with you every day and using it to fuel your mission, using it to make a difference.”

IZZY REIGN releases haunting new single ‘Phobos’, out now, new self titled album out on March 21 on FiXT.

‘Phobos’ delves deep into the unsettling world of panic attacks, drawing from personal experience to convey the overwhelming and unpredictable nature of these episodes. With raw emotion and vivid descriptions, the song captures the sensation of air thinning, heartbeats overpowering, and the inevitability of panic despite any attempts at control. Through ‘Phobos,’ Reign seeks to resonate with those who have faced similar battles, whether through the struggle to resist the attacks or the resigned acceptance of their recurrence, creating a visceral sonic journey of anxiety and resilience. This song is about the experiences of having panic attacks. A true understanding of how they feel and how at complete random they can occur.

In her own words, “I spent many years of my life undergoing random panic attacks, which felt like, for no reason at all, but upon learning and understanding how much the subconscious stress levels of your brain truly affect the physical responses of your body, it seemed to make more sense. I struggled with this for a long time and as many people have experienced them selves, it can take a major toll on ones every day life. How ever, I wrote this song in regards to this becoming my norm, and when I felt the coming on, I just had to take them steps to prepare and let them pass. The inevitable would happen, regardless of how in control I felt or how much I changed my situations/surroundings. I wanted to give the feeling of what a panic attack felt like to people who have gone through the many different stages of them. Whether or not they let it consume them, the sensation of the air around them thinning, or your heart beat being the only thing you can hear, or the other side of acceptance, almost, in a way, being annoyed that you have to sit down and ground yourself to prepare for what you’re already used to.”

Eville is already surpassing expectations after being chosen as Alyx Holcombe’s One to Watch for 2025 with their first release of the year, ‘Plaything’.

The Brighton-based trio may have debuted and ascended as pioneers of Brat Metal, but ‘Plaything’ sees the powerhouse mature into provocateurs of psyche-piercing post-hardcore furore with their lacerating hyper-sonic hooks, heavy riffs and indomitable drum n bass beats which precariously teeter on the edge of cataclysmic chaos.

With endless vocal transitions, Eva dons a kaleidoscope of guises with her chameleonically always-in-flux shifts from bubblegum pop siren to nu-metal lyrical waxer to outpourer visceral metal screams which cut through the mix like a razor-sharp buzzsaw to protest against capriciously selfish protagonists prone to treating others as easily discard objects of pleasure.

Eva Sheldrake said: “In true Eville style, ‘Plaything’ incites a riot of huge melodic pop choruses interwoven with hard-hitting, edgy verses. The track also marks a pivotal point in our career, exhibiting our expansive versatility and how fearless we’ve become as songwriters as we incinerate the boundaries of our sound.”

Serpentyne unleashes their highly anticipated new album Tales From The Dark, a bold evolution of their symphonic metal sound. The album refines its signature fusion of orchestral grandeur and modern metal intensity, weaving together fast-paced, cinematic compositions with powerful vocal harmonies. Fans of Nightwish, Within Temptation, and Eluveitie will find themselves immersed in a dynamic and evocative listening experience.
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The road to Tales From The Dark has been paved with an electrifying single that introduced listeners to the album’s rich sonic universe. The first glimpse came with ‘Prophetess of Dreams’, a hard-hitting and fast-paced track that set the stage with machine-gun guitar riffs and an ominous tale of fate and destiny. Now, the album release is accompanied by the focus track ‘Run For Your Life’, a relentless and high-energy anthem that captures urgency and fear through a powerful mix of 8-string guitar work, soaring vocals, and layered orchestration. This song encapsulates the cinematic intensity of Serpentyne’s evolved sound, pulling listeners into a desperate chase for survival.

As the band prepares to release their brand new studio album Sleepless Empire, Italian metal titans LACUNA COIL have released the ultimate single ‘I Wish You Were Dead’ alongside a stunning music video.

‘I Wish You Were Dead’ is about the emotional turmoil and struggle that accompanies toxic relationships. The song’s video takes the track’s heavy theme and spins it into a romantic Goth tale just in time for Valentine’s Day. Filmed by Martina L McLean in a church in Capranica, a small town north of Rome, it marks a first in the history of LACUNA COIL: the band performing a choreography!

On the new single, the band shares: “We all have this person we wish never existed, right? We all felt the need to erase the same person from our thoughts, someone who hurt us that it’s still in our mind. We wanted to write heavier lyrics on a happier musical canvas. Also we are a little tired of being politically correct at all costs…”

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“’Syko’ represents someone who crossed boundaries,” she says. “What started as admiration slowly turned into something overwhelming over the course of two years. This person began crossing lines in ways that became unsettling, with their behavior becoming increasingly invasive. I brushed it off for a while, but one night, things escalated beyond what I could ignore, and I realized I was in a dangerous situation. ‘Sum Kinda Syko’ reflects my experience with harassment, unwanted attention, and how this person couldn’t accept boundaries. Syko is a reminder of how quickly things can go from harmless to threatening.”

The blatantly obvious nature of the track means its point cannot be avoided, exposing a situation that many people have ignored and being iconic with it. BEX says “Every single lyric is true and meaningful. This track is a lyrical masterpiece, it’s so blunt and honestly comedic when you read the lyrics alone.”

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BEX shares new single ‘Taste Better’. ‘Taste Better’ is co-written and produced by WARGASM’s Sam Matlock. A personal battlecry for every woman who has been belittled by men. BEX says: “It’s about female power, fighting back against the patronising men and condescending tones we know all too well. It’s a fierce track that emphasises female empowerment and rejecting expectations.”

Following last month’s surprising single ‘Turbulence,’ Escuela Grind have now unleashed the second track from their upcoming album Dreams On Algorithms. The grindcore crew share the suitably brutal ‘Concept Of God,’ which they say is about “the chaos that ensues when humans come together; the good and bad things that happen when opposites and like-minded individuals attract. The main lyrics in the song are, ‘The concept of god only exists because of people.’” [via Kerrang!]

Having treated festival fans to the track live over the summer, Heriot have now released ‘At The Fortress Gate’ in its full studio glory. The single is taken from the band’s debut album Devoured By The Mouth Of Hell – which is due out on September 27 via Century Media – and follows previous ragers ‘Foul Void’ and ‘Siege Lord’. “’At The Fortress Gate’ blends elements from both our early and newer influences,” say Heriot in a collective statement. “It’s been one of our favourite unreleased tracks to perform live over this festival season, and we can’t wait to add it in the set for the Fit For An Autopsy tour later this year!” [via Kerrang!]

REDHOOK have released a new music video. The new music video, for the track ‘Pyromaniac’, is the brand new single from the Australian alternative rock band and follows on from their previous single, ‘Cannibal,’ which was released back in June. The new song was produced by Stevie Knight [STAND ATLANTIC] and mixed by James Paul Wisner [UNDEROATH, PARAMORE] and its accompanying music video was directed by frequent REDHOOK collaborator Colin Jeffs of Ten Of Swords Media [Imposter, Cannibal]. Speaking about the new single, vocalist Emmy Mack says, “’Pyromaniac’ is a song about making an urgent decision to get professional help with your mental health. It soundtracks this brutally catalytic moment – standing alone in the wreckage of your past mistakes and desperately resolving to change before it kills you. To figure out the root of your self-destructive patterns so you can finally break them. It’s about reflecting on every bridge you’ve ever burnt and asking for help to figure out how to not burn anymore.” [via Distorted Sound]

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Creative powerhouse and genre-collision experimenteer BEX is back with a new single ‘Fight’. ‘Fight’ is a rallying cry in the wake of a relationship breakdown with BEX’ signature scuzzed-up, grumbling basslines propelling a proper punchy chant. The combative track arrives as she looks towards a number of festival performances this summer, as well as a newly-announced headline date at London’s Omeara on 1st November. As BEX says, “’Fight’ is not a love song, it’s the opposite. It’s an acceptance of embarrassment. Loving someone to then have it thrown in your face is embarrassing, when you try your hardest, never fight, and you’re getting along so well, it can be so confusing to find out they were never loyal. Fight is about how blind sighted I was, for so long and the way the whole situation made me feel in the end. Truth is, you never know another person, and trust should never come easy, that’s what I have learnt – you have to let people EARN your trust. Don’t just give it away.”

Heriot have announced their debut album, Devoured by the Mouth of Hell, due September 27 via Century Media. It was recorded with Will Putney (of END, Fit For An Autopsy, Better Lovers) and Josh Middleton (Sylosis, ex-Architects), and it features recent single ‘Siege Lord’ as well as the just-released ‘Foul Void,’ which opens the album. Like the last single, it offers up a futuristic blend of metalcore, death metal, industrial, and more, and the band says it “delves into the inner struggle of an individual facing uncertainties about their faith.” [via Brooklyn Vegan]

Poppy has released an absolutely banging new single, ‘New Way Out’. The musician has followed up last year’s 4/5-rated Zig album – plus mind-blowing 2024 collabs with Bad Omens and Knocked Loose – with a brilliant new tune that leans towards the heavier end of what she’s done across her genre-defying career so far. Bonus: it also features the production work of Jordan Fish, who, since departing Bring Me The Horizon in December, has been busy in the studio with everyone from Architects to Spiritbox – and now Poppy! [via Kerrang!]

EPICA singer Simone Simons has released the official music video for her second solo single, ‘In Love We Rust’. The track is taken from her debut solo album, Vermillion, which will be made available on August 23 via Nuclear Blast Records. Simone, who has been a pioneering force within the world of metal for over two decades as part of EPICA, worked on Vermillion with her musical partner and longtime collaborator Arjen Lucassen (AYREON). Arjen is no stranger to Simone’s soaring operatic voice, one that can stir even a gargoyle’s stone heart to tears. Together they have crafted a sonic universe that befits the influential figure she is. Vermillion emerges as a gargantuan goose-bump generator, a universally touching, stellar tour de force. Simone and Arjen state about ‘In Love We Rust’: “The video was filmed in just one take to keep it as pure and raw as possible. We opted to keep it in black and white so as not to distract from the song or the performance. ‘In Love We Rust’ is quite different from our first single ‘Aeterna’, which shows how diverse this album is. This is one of our favorite songs. We hope you love this as much as we do.” [via Blabbermouth]

European quintet ANKOR have signed to UNFD, and released their first single for the independent heavy label. The band – fronted by Bristol vocalist Jessie Williams, and completed by guitarists David Romeu and Fito Martinez, and bassist Julio López, all from Spain, and drummer Eleni Nota from Athens – have joined forces with UNFD to help propel their next era, having already been building up a dedicated fanbase for the past 20 years. And that’s helped further with the release of new single and video ‘Embers’, which Jessie explains is “a song that mixes EDM with classical ANKOR melodies. A song about dealing with loss and grief. We recorded the music video in a beautiful church in London, and we believe it sends the exact message of the track. “’Embers’ is a journey through the mind of someone living an alternate reality,” she continues, going into detail about the accompanying music video. “Dreaming of what could have been… but the truth is much darker, that’s why we represented it with both dresses. It’s a ceremony of what could have been a wedding and ends up being a funeral, in which she dances alone, knowing none of it will ever happen. It can hit as a negative song, but in her sadness there is hope, as she’ll always be connected to her loss.” [via Kerrang!]

Titled Silhouettes, the sophomore album from the Newcastle-based heavy progressive band Giant Walker follows 2022’s All In Good Time and is scheduled to be released in September this year via Church Road Records. The album will feature the previously released single ‘Make Me’, as well as the newly released ‘Halcion’. Speaking about the creative process behind the new track, guitarist Jamie Southern comments, “The initial idea for the song emerged from a drum groove, although it evolved through several different iterations before culminating into its final form. Sonically, it’s quite dark and angular, and so, when it came to crafting the lyrics, the aim was to encapsulate that feeling of uneasiness that came from the music and weave it into a story. It just so happened that amidst writing the song, I ended up watching a documentary about a serial killer, which felt very fitting to the music, and so, this ultimately shaped the lyrical direction Halcion took.” [via Distorted Sound]

Sydney rebellious rockers Wicked Envy have premiered their formidable new single called ‘Final Descent’. The dominating new track commands attention, taking you on a gut-wrenching final journey through flight. “’Final Descent’ is about the fear of flying and dying in a plane crash,” explains vocalist Desiree Hancock. “I decided to write this song, cause It’s a very relatable topic, as many of my family and friends struggle with this fear of Aerophobia, especially when travelling overseas. The eerie whispering voices and haunting vocals are evident throughout the song to create a sombre feel, as if these voices are from the dead.”The thumping guitars in the main riff/ chorus and pounding drums bring out the emotional, gut-wrenching feelings like turbulence on a flight we have all been taken on. You never know when your number is up. This song is based on the movie Final Destination! As I’m a massive fan of the movie and horror films in general, I thought it would be thrilling to write about a plane crash and the audience left with one question. Will this be the end?“ [via Heavy Mag]

Hard rock band Beautiful Skeletons unveils their new music video, ‘Only Zuul.’ The track, featured on their recently released EP Temperance (Wormholedeath Records), is accompanied by a visually unsettling video experience. Produced by the one and only Hotkarlproductions Karl Whinnery and Amanda McGahey, this video will grip you with its eerie atmosphere and special effects.

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She says “’sunDae’ is about the expectation of having to be and look perfect all the time even when the world isn’t. The irony of the constant British drizzly days compared to the expectation of perfection that social media has put on us as a generation. We are requesting only the same from the weather as what the world expects of us. It’s a love song of expectation and disappointment. No one can achieve unrealistic goals and we all need to stop being so hard on ourselves all the time, social media isn’t real.”

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SCUM also features BEX’s new anti-anthem ‘Trust No One’, which is a song for musicians, out now. She says: “I wrote ‘Trust No One’ whilst on holiday in Cornwall, looking out across the sea, taking a break from reality, deep in thought. The music industry has always been a vicious one; snakes and thieves are normal here. The song presents the harsh truth of my short experience within the industry so far, holding my cards against my chest because you never know anyone’s next move. We all know the gatekeepers can be brutal, but I ended up finding out that your fellow musicians, the ones who are in the same boat as you, can end up being the worst. I very quickly found out who was in this race for the wrong reasons, craving fame and attention, ready to destroy anyone who is in their way. I started to become the same. It’s so easy to lose yourself amongst the rats. Writing this song was me accepting my mistakes, it was me falling back in love with the art, distancing myself from the scumbags, and finding myself again.”

The single comes with a vibrant music video which BEX herself describes as “an eyesore. It’s bright, it’s flashing, and it moves too fast for any eye to concentrate. The outfits are so wrong that they are right. The video is what the industry feels like. The fairies are the tricksters, winning and losing, with no consistency: sabotaging everything. The devils are raising hell and together they make mayhem. The video shows that no one can be trusted, you’ll never know what’s behind the mask.”

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Glasser, the electronic music project of Cameron Mesirow, has shared the music video for her recent song ‘Vine,’ the first single off of her upcoming album, crux. Julia Crockett directed the video, which features Mesirow posing for art students. Crux is due out October 6 via One Little Independent. This is Glasser’s first full-length album release in 10 years. Crux becomes a melting pot of sorts, pulling from unavoidable hardships and making it into something a bit more digestible. Of the album’s lead single ‘Vine,’ Glasser says, “It was like an attempt at making something where all the parts sound like they’re very separated. I was thinking like jazz, actually. It was about getting back to writing music after feeling a bit disconnected from the machinery around making it your profession.” [via Under The Radar]

CIEL have released a new single, ‘So Scared’. Following on from ‘Somebody’, it’s the latest track from the Brighton band’s upcoming EP Make It Better, set for release on July 7 via Jazz Life. Michelle Hindriks (vocals, bass) says: “’So Scared’ is about being scared to be vulnerable and open up yourself towards someone else. But at the same time it’s about actively wanting to change that part of yourself and working hard to be able to be vulnerable, as it’s an important part of making valuable connections with others. The song started out with just one cute sounding synth line with the vocal part over it and in the studio we kept adding layers of guitars to create a much bigger sound.” [via Dork]

Nashville, Tennessee’s GAL — short for GIVE ART LIFE — is an avant-garde artist consistently pushing boundaries. As she tells stories of love, heartbreak, and rebellion, she blurs the lines between reality and imagination and blends rap, singing, and songwriting into cohesive tracks. Her newest single, ‘Roxx Off’, details the emotions that arise as a love turns into heartbreak. Speaking on the track, GAL explains, “Love never truly disappears; it just transforms into pain, regret, forgiveness, or sometimes even hate, but it always circles back to love. ‘Roxx Off’ is about that someone you love to hate, but can’t seem to let go of. It’s relatable to any situation where you struggle to maintain what you truly want, or try to shake off something you don’t.” Below, you can watch the single’s music video, directed by Christopher Scholar with creative direction and styling by LaDonna Wittingham. Green and pink florals create a flower power-esque setting, while long nails and experimental fashion complete the picture. Whether camouflaging into the wallpaper or starring on the screen of an old television set, GAL plays with special effects and experimental, trippy visuals to captivate the audience. Ending with a reference to The Addams Family’s Thing, a disembodied hand, the video tells a story of its own while also bringing the lyrics and soundscape to a new dimension. Cinematic, expansive, relatable, and honest, the song and video will lure you into the world of GAL. [via Wonderland]

The Japanese pop-rock band CHAI have announced a new self-titled album, their follow-up to 2021’s WINK. It includes ‘We The Female!,’ which came out last month, and now they’re sharing the breezy, groovy ‘PARA PARA.’ “There’s not a deep meaning to that song, it’s really just about the dance,” the band’s MANA said, referencing Japan’s ’90s two-step dance trend. She continued: “As long as you can feel the two-step, any dance is possible! Let your body just move to your dancing heart ♡ When your body moves to the beat of your heart, you’ll realize that the world is smaller than you think, and all your problems are easier than they seem. ‘Cause two-step and music is the best way to communicate in this world ♡ Let it START! CHAI’s two-step dance music ☆☆” [via Stereogum]

twst is back with a new single called ‘Off-World’. Following April’s ‘Most Viewed’, the track comes paired with a music video co-directed with Sam Kinsella. Speaking about the track and its accompanying visual, twst said: “‘Off-World’ resonates with a universal desire to give oneself completely, forging connections that transcend societal norms. The music video serves as a visual representation of the song’s themes, depicting a cyborg girl who descends upon Earth, yearning to break free from the confines of this world and find solace in another realm. In this transcendent journey, ‘Off World’ encapsulates the concept of liberation. The cyborg girl symbolises the struggle for personal freedom and self-expression, embodying twst’s own quest for authenticity. The lyrics vividly portray longing and transformation, urging listeners to break free from predetermined moulds and embrace the unknown. The chorus becomes an empowering anthem for those seeking to transcend their current state and embrace a new existence beyond societal boundaries.” [via Our Culture Mag]

Kesha has unveiled a video for ‘Only Love Can Save Us Now’. The intense track features on the singer-songwriter’s recently released Rick Rubin-produced album, Gag Order, which is described as a record that excavates, “the deepest recesses of her soul.” The clip also finds the singer channelling a variety of emotions into a surreal performance of the song. [via Stereoboard]

Rising pop artist Gabi Sklar reveals the music video for her new single, ‘Good Kisser.’ ‘Good Kisser’ is a sultry and sophisticated pop anthem that highlights Gabi’s captivating vocal range. “The song explores the ‘maybe I should, maybe I shouldn’t’ relationship with a really good friend — it’s about that push-and-pull of intuition vs. temptation,” she says. For the ‘Good Kisser’ music video, Gabi collaborated with director Justin Thorne (House of Giuseppe) to bring the song to life. “What I like most about the music video is that it allowed me to step outside of myself and play various characters,” Gabi elaborates. “I also really adore 60s glamor which made it that much more fun to experiment with different vignettes, personas and aesthetics inspired by that decade.”

Alice Merton makes her long-awaited return with a new single entitled ‘Charlie Brown.’ The track is a catchy indie-pop song that tells the story of a man who is stuck in a rut. His days are repetitive, and his past keeps coming back to haunt him; he is searching for a higher meaning in life, something that makes him feel fulfilled – unfortunately, he has yet to find it. The chorus comes in as a push out of the daily grind: “Hold tight we’re moving on! Keep that dream just a little bit longer!” ‘Charlie Brown’ is a wake-up call to get back into the driver’s seat of your life. It’s a hymn to keep going – no matter how big the obstacles may be. Stop settling for the apparent security of everyday life, but fight for what is important to you. Thus, the song’s message is not only addressed to Charlie. All of us could do with leaving our comfort zone sometimes, try things and to stand up for our dreams. After having finished a North American and European Tour with the British indie-pop band Bastille last year, Merton found herself back in the studio, writing with Chris Wood aka “Woody” (drummer from Bastille) and songwriter/producer Matt Wills. Merton recalls, “It was honestly one of the best times of my life, getting to tour with such a lovely group of people, and then creating music together.” William Farquarson (bass player in Bastille) joined the session a few weeks later and out came ‘Charlie Brown.’ The track was finished off with production by Paul Whalley, mixing by Jon Kelly (Kate Bush, Freddie Mercury, Duffy), and mastering by Sascha Busy Bühren. The accompanying video for ‘Charlie Brown’ was filmed in London and written and directed by Alice. At her side was choreographer Lyn Lim, with whom she worked with on ‘Lash Out’ and ‘Blindside,’ and her trusted Director of Photography Elias Koehler. Together, they created a world where Charlie seems to be a bit confused and depressed with his life situation, but Alice is adamant that he realizes how special he is.

Caity Baser has shared a new single, ‘Leave Me Alone’. The accompanying video sees her take inspiration from a number of Hollywood films, including American Beauty, Lady & The Tramp, Love Actually and more. Caity says: “I wrote ‘Leave Me Alone’ about this boy that I was seeing. And then after we stopped seeing each other I was like ‘fine we were seeing each other anymore’ but then he was still bugging me and calling me and bothering me all the time on nights out, trying to get in my ubers home and I was saying “no, no, no, sir! I don’t want that. “Then he would tell me all these sweet, sweet nothings and make promises filled with love but actually meant nothing and then I’d say “I don’t even care if you don’t mean it just leave me alone”. So this song is about that one person that were not leave you alone – that is grinding your gears, making you sick to your stomach and you don’t want to say anything so you just say: say leave me alone!” Of the video, she adds: “The video was so much fun to make! I made it with Callaway Breeze and we recreated scenes from Love Actually, Say Anything, Romeo and Juliet, Lady And The Tramp and Wolf Of Wall Street. It was really cool to recreate some of my favorite movies and incorporate them into my music video. It was also so fun to be with everyone during the day of the shoot and have all these slay outfits I must say. Also there was a sexy, slay boy there the whole time. Watch it!” [via Dork]

Enigmatic Los Angeles songstress Madeline Goldstein steps back into the spotlight, leaving a poignant imprint on the darkwave scene with her latest EP, Other World, thoughtfully curated by à La Carte Records. At its essence, Other World is an intoxicating melange of charm and command. Though concise, it serves as a formidable artistic descendant of her first full-length debut, yet confidently carves its unique place as a breathtaking tour de force. The titular track and single, ‘Other World’ immerses its listeners in a mesmerizing dreamscape woven from the shards of erratic drum beats, echoing synthesizers, and the celestial aria of a soaring soprano. Goldstein’s main vocal thread, delivered with her trademark elegance, intensifies in passion as it surges towards the climaxing third act. The sparkling requiem draws from the deeply intimate realm of Goldstein’s solitude, echoing the emotionally charged ballads of musical theatre and the heightened drama of 80s romance anthems. The track reverberates with traces of The Motels, Aimee Mann, and Tuxedomoon, especially apparent in Byron Burchard’s saxophone epilogue, acting as an emblem and embodiment of tears. As the song ascends towards its pinnacle, the chorus of backing vocals weaves and hovers above the sonic tapestry, heralding the distant saxophone’s soothing warmth to the track’s closure. The monochrome visual accompaniment, crafted by director and cinematographer Tyler Carlin, portrays an enchanting, intimate dance between two women, with the second role embodied by Margot Rhodes (Mirror of Venus). The nature of their relationship remains tantalizingly elusive: are they rivals? Sisters? Lovers? Or perhaps they are merely apparitions within each other’s minds? Yet, their languid, abstract dialogue unfolds in a hypnotic ballet. Byron Burchard also graces the frame with his saxophone. Both the song and the video are steeped in the profound influence of David Lynch – and in keeping with this spirit, perhaps it’s more fitting to allow this Other World to remain a stunning enigma. [via Post-Punk]

20-year-old nu-punk artist BEX has shared a brand-new single and killer video. Detailing the “struggles and emotions within a relationship”, the song goes by the very apt name ‘Don’t Date The Devil’, and arrives ahead of her performances at 2000trees and Y Not? this summer. Speaking about the full meaning behind the single and video, BEX shares: “I have used extremes to emphasise the pain, dread and guilt the main character of the track should feel, but doesn’t. The first verse explores blame – it is the character taking the guilt away from themselves and blaming their partner for choosing to be with them; when they should be taking responsibility for their own actions. The track moves through an abusive relationship, constantly comparing the character to the devil and displaying themes of pain and harm combined with love. The music video conveys the relationship as a personal battle. An inner love fight rather than a two – or more – person relationship. A battle of self-hate and harm. Throughout the music video we see the ‘weaker’ character gain power to finally result in the eye gouge scene, where the ‘weak’ character takes charge of their inner demon and kills it/them. Overall the track and video display power dynamics within different situations, relationships, friendships and between your external and internal self. Loving is hard, whether that’s with yourself or with another. Being aware of your actions and your own love language can be a helpful way of making it slightly easier. We cannot have love without hate and we cannot hate without love.” [via Kerrang!]

Sydney-based alt-pop duo Cat & Calmell, consisting of Catherine Stratton and Calmell Teagle, has announced their upcoming mini-album How Do You Feel? will be released on September 29. From the mini-album, the duo released the second single called ‘Feel Alive’ along with a music video. The track was written by Catherine Stratton, Calmell Teagle, and Taka Perry who also produced it. The accompanying video was directed by Joshua Moll, Oliver Kirby, Calmell Teagle, and Catherine Stratton, who filmed on location in Sydney. The duo said of the song, “When we wrote this, Calmell and I were in a really dissociative state. I had just turned twenty and was getting really, really scared and existential about everything, I had a lot of anxiety, and I didn’t know what to do with myself and nothing made me feel good. So, the main sentiment of the song is that only when I think about dying do I actually even feel anything at all—whether it’s fear or excitement.” [via pmstudio]

Filipino-American multidisciplinary artist and activist ((( O ))) shares her latest ‘Sanctuary’ and announces her album, ((( 4 ))), out this summer on August 27. An unpronounceable symbol, ((( O ))) represents an all-seeing eye, the big bang, birth, rebirth, the female anatomy that makes birth possible, a ripple in an otherwise still body of crystal clear water… or whatever else that might resonate with you. Sonically, ‘Sanctuary’ is ethereal, but the way the beat grooves is a little grungy and sweaty, for fans of FKJ (to whom she is married)’s sound with a bit of Jhene Aiko or Kehlani crossed with Medasin and Raveena RNB stylings. It’s gooey and precise but free. Of the track, ((( O ))) says, “’Sanctuary’ is about the cyclical nature of menstruation. This song explains the discovery of our ability to harness the power of our menstrual cycles as superpowers through our ‘inner seasons.’ It’s about tuning into my own inner rhythms as our guide for unraveling the layers of album ((( 4 ))) for the rest of this year – finding solace and harmony, utilizing the power of ritual and inner cycles as a portal to deeper connection and understanding.”

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Having established herself as one of Australia’s most important voices and striking songwriters of recent years, Melbourne-based artist Eliza Hull has proven the longevity of her art, and continued evolution. With the release of her new single ‘Running Underwater’, the songwriter and musician embraces a beautiful new chapter of creative and personal expression; the threads of experiences from both sides of her being knitting together beautifully in creating a gorgeous piece of new music. ‘Running Underwater’ saw Hull work with ARIA Award-winning producer Pip Norman (Baker Boy, Missy Higgins) on production, recording the track at BIGBANG Studio. Mixed by Simon Lam (Woodes, Cub Sport) and mastered by Idania Valencia (Sam Smith), ‘Running Underwater’ – in its final form – lets the dynamism of Hull’s vocals and arrangement take prominence, flourishing with each sonic swell. ‘Running Underwater’ is the first song Hull has written about being disabled and living with a condition called ‘Charcot Marie Tooth’. The condition, a degenerative nerve disorder, has affected Hull’s walking for a long time; it was a disability that she kept hidden, specifically in the music industry. In recent years however, Hull has emerged as an accessibility advocate within the industry; her determinism and approach to educating and spurring on change in perspective and structure, when it comes to the way disabled musicians are treated within the industry, has been incredibly influential. ‘Running Underwater’ is a powerful musical representation of Hull’s strength, and an example of the artist coming further into her own.“For a long time I hid my disability, especially in the music industry. This was due to under-representation of disabled musicians and I was constantly shown that disability was a deficit or something that should be feared and hidden. It was such a heavy weight holding onto these beliefs, it was exhausting to constantly hide. This song is about pushing up against society’s view of disability, it’s about letting go of the fear and being authentic and true to myself and showing that it’s ok to be different.“ Working with director Keiran Watson-Bounce, Hull has also produced a moving music video for ‘Running Underwater’, filmed at The Goods Shed in Castlemaine. Featuring the talents of dancer ‘roya the destroya’, the experience allowed Hull to bring the song to life in a beautifully unique way onscreen. And in doing so, has represented disability onscreen in a way not generally seen. “The music video features my very good friend ‘roya the destroya’. She is a brilliant disabled dancer who moves like nobody I know. She actually started busking with an early version of the song and sent me a video of her performing with it. When I watched that video I knew I had to collaborate with her on the official music video. She has a beautiful ability to inhibit what I am feeling in my music and then express that through movement. In the music video she is like my alter-ego, almost like the spirit part of what I am feeling in the lyrics. Keiran Watson-Bonnice is the director of the music video. We have worked together in the past on the ABC Kids TV show And Then Something Changed, which I produced and wrote the music for. We shot the clip in one day, in mostly one take in the Goods Shed on a freezing winter’s day.“

Next month, Christine And The Queens are releasing a new album, PARANOÏA, ANGELS, TRUE LOVE, recorded with super-producer Mike Dean. We’ve heard ‘To Be Honest’ and the 070 Shake-featuring ‘True Love’ from it so far, and now Chris is sharing another new one, ‘Tears Can Be So Soft.’ “Tears can be so soft was born out of the marriage of a Marvin Gaye sample that caught my attention, this intoxicating, elegant, almost poised in its melancholy string arrangement,” Chris said in a statement, adding that they wanted to create “this deep sense of almost womb-like, hypnotic space where the voice could soar in its loneliness, [an] interplay between the suffering that motivates tears and the gentle healing effect they can have.” [via Stereogum]

In June, This Is The Kit will release a new album, Careful Of Your Keepers, which follows 2020’s Off Off On and is produced by Super Furry Animals’ Gruff Rhys. We’ve already heard lead single ‘Inside Outside,’ and now they’re back with another album track, ‘More Change,’ which comes with an animated video created by Benjamin Jones. Jones explains of the video: “With this video I wanted to create something that felt homemade, organic and very much alive. Using very simple puppetry with some old coat hangers and some basic stop motion (and some surprisingly willing neighbors who lent me their faces) I’ve tried to create a few characters and scenarios which are connected in some ways, but also reflect the themes I picked up from the music – sadness, compromise, exploring new ground, and finding new ways to help each other move forward.” [via Stereogum]

Water From Your Eyes have released a new single and video ’14’, the latest preview from their forthcoming album and Matador debut Everyone’s Crushed, out May 26. A crescendo of swelling strings, pizzicato and electronic drone moving around a cyclical vocal refrain of “How many is 14?,” the band describe the song as “a quasi-serial inkblot signifying submission to personal demons and the realization that change is both necessary and inevitable.” Watch the widescreen black & white video directed by the band’s Rachel Brown below. On the video, Brown says: “I was largely inspired by Meshes of the Afternoon, Last Year in Marienbad, and Spirited Away, as well as the painting The Triumph of Baccus by Diego Velázquez, a favorite of Nate’s. I wanted to capture the feeling of being haunted by one’s own inner turmoils and the act of letting those conflicts go.”

Late last year, art-pop masterminds Kate NV and Angel Deradoorian announced that they’d joined forces to form a duo called Decisive Pink. Next month, they’ll release their debut album Ticket To Fame. Now, they’ve also shared a joyous piece of spiky weirdness called ‘Dopamine.’ ‘Dopamine’ is a six-minute piece of deadpan art-funk about the emptiness of consumerism. Kate NV and Angel Deradoorian chant the names of products with arch, sarcastic glee as their music mechanistically tics away. In the video, director JJ Stratford films the two of them in theatrical makeup as they work in a warehouse full of boxes. Both musically and visually, ‘Dopamine’ recalls some of the artiest post-punk of the late ’70s and early ’80s. [via Stereogum]

Ashnikko has unveiled the official video for her single ‘WEEDKILLER’, directed by Furmaan and Vasso. It follows the release of her other recent singles ‘You Make Me Sick!’ and ‘Worms’, which will appear on her highly anticipated debut album of the same name, due to arrive imminently via Parlophone Records. “This song is the one that gave birth to the whole album,” stated Ashnikko. “It’s the climax of the record, the epic fight scene in the wasteland. Swords drawn, roots deep into the ground, I have come here to photosynthesise and eliminate the weedkillers. It is a violent fantastical storytelling set in my realm.” [via Dork]

Louise Post – of seminal band Veruca Salt – is sharing the video for her first debut solo track ‘Guilty,’ a perfect reverie of guitar haze. Directed by Meeno and written and produced by Post, the video showcases a married couple’s relationship on the fritz with no one person more guilty than the other in their wrongdoings. About the song, Post reflected, “I wrote this on a Tuesday and recorded it on Thursday, writing most of the lyrics on the drive from my house over to the studio. This song literally poured out of me. I was sleeping when it woke me up and demanded to be written. The first verse and chorus landed as an accusation, but then I realized it was far more interesting, and much more true to life, to have everyone in the song be guilty of something. To have the narrator own up to her own guilt, and then acknowledge the universality of it all. I mean, what would we be without our secrets? The song is ultimately about not taking ourselves so seriously.” [via AntiMusic]

Singapore-born, London-based artist Yeule has released a new single, ‘Sulky Baby’, alongside news of new US and UK headlining shows later this year and their signing with Ninja Tune. ‘Sulky Baby’, which is accompanied by a visually stunning music video directed by Yeule themselves and Jaxon Whittington, is a melancholic tune that blends 2000s alt-rock and shoegaze. Yeule said of the newly released track via a press statement: “‘Sulky Baby’ was like a 2000s alt-rock shoegaze hybrid tinted in sad satire. I felt like I was talking to a younger version of me, stopping her from crying, looking back at the ways I betrayed and neglected that innocence from myself. I failed to protect her and I felt like I needed to go back in time and fulfil what she was starved of. So that she could return to my side. So that I can smile like a little kid again.” They continued: “The song gives quite vivid descriptions of a depression I felt with almost a burning passion, yet I tried to give it a light-hearted tone. I think romanticizing is not always that bad. It helps to do it sometimes when you’re dealing with a repressed memory. I think it is called an advantaged delusion? Sometimes, that’s the only way I can remember parts of me I don’t want to remember, so that I can lay her to rest and heal. My mother used to tell me as a child, not to sulk all the time. I guess that’s why sulking is so special to me.” [via NME]

Lana Del Rey has released the 10-minute music video for ‘Candy Necklace’ featuring Jon Batiste from her new album Did you know that there’s a tunnel under Ocean Blvd. The video, directed by Rich Lee and shot in Los Angeles, sees the singer take on the role of numerous Hollywood starlets throughout history like Marilyn Monroe and Elizabeth Short, also known as the The Black Dahlia. The black and white video features behind the scenes shots of Del Rey through the camera finder, in the make-up chair and alongside collaborator Batiste at the piano. “The whole thing about the video — why it was all supposed to be behind the scenes — was because all these women who changed their names and changed their hair, like me,” Del Rey tells the crew at one point in the video. “It’s like they all fell into these different snake holes. So the whole point is like, how do you learn from that and not fall into your own thing?” [via NME]

‘The Most Wanted Person In The United States’ — the recently released 100 gecs track — has finally received the goofy visuals to match its irreverent sonics. The new video finds Laura Les and Dylan Brady masking up to steal packages off of porches, brandish plastic swords at Ring doorbell cameras, kick a life-sized plastic horse, and hold up a convenience store with automatic weapons made of Monster Energy cans, among other misadventures. [via The FADER]

Borderline Toxic have made their long awaited return, releasing latest single ‘Sir Satan’. The band’s desire to explore emotive, personal lyricism paired with a raucous background of scuzzy riffs is exhibited in full. Featuring another flamboyantly crafted video, Borderline Toxic continue to illustrate why their sound has struck a chord with press both at home and abroad. ‘Sir Satan’ delves into themes about our own character, our flaws, our strengths, our relationships and how these individual traits are influenced by both positive and negative experiences that have shaped us. Hypnotic front-woman Kerry Glass delivers the line, “…nothing is A-Ok, said Sir Satan…” with stinging aplomb. Kerry is telling the listener that our demon is always in the back of our mind causing doubt and, ultimately, sabotaging the healthy relationships we create. Kerry’s own personal rebuke to the paternal issues she has faced growing up are laced throughout the song and are cocooned by filthy, face melting guitar riffs, biting drum beats and a grooving baseline.

Sweden’s Hot Breath returns with the new hot single and visually stunning music video ‘Keep On Calling’. The track is a highly energetic rock explosion with powerful vocals and thrilling riffs, of which the band comments: ”’Keep On Calling’ is a song about trying to break free from forbidden duets – even though your body is as tense as a bow-string”.

Ukrainian refugee and pop singer-songwriter Natisa Gogol has shared the video for her latest single entitled ‘Aesthetics’. The disco-infused dance pop anthem is a love letter to the LGBTQ+ community, especially those in Russian occupation who are further discriminated against. Natisa confides, the song “is a tale of love that is more powerful than life itself, overcoming injustice, prejudice, and any obstacles it may encounter.” The futuristic video is a dedication to the LGBTQ+ community, portraying a love affair between two women that transcends space and time. ‘Aesthetics’ further highlights many people’s concerns that if Russia occupies Ukraine, the LGBTQ+ population will have their current rights taken away. Natisa’s music delivers a powerful message about holding onto strength and hope, even in the most disastrous and dark of times, as she herself was forced to flee her home in Ukraine to begin a new life.

Toronto–based songstress Sam Casey wears her authenticity like your favourite pair of well–worn jeans. Her unfiltered and unapologetic songs are inspired by the past two years of her life: all the breakups, the makeups, the drugs, the dancing, the crying, the anxiety and the love. Her passive aggressive song, ‘7 Second Superstar,’ was inspired by TikTok fame. It comes off as judgmental because it is. Sam and her co-writers, Julianna Eye and Chloe Kay, felt critical of social media – TikTok in particular – and how it promotes a culture of one hit wonders. “Julianna, Chloe, and I wrote this song over Zoom in 2021 with TikTok reaching its height of popularity and all of us being quite literally forced to participate on the app,” Sam explains. “After a conversation regarding our experiences in the early-2000’s and late 90’s (before social media existed), we decided to try a blink-182 vibe and about 2 hours later we had a song.”

Grace Potter is gearing up to release her fifth studio LP Mother Road via Fantasy Records on August 18. An audacious and heart-pounding map of the soul, Mother Road finds Grace deconstructing her deepest fears and darkest regrets, charting the fallout with brutal honesty and emotional daring. To celebrate the release, Potter has shared the inviting, irresistibly twangy title track. The single comes alongside an endearing Pulp Fiction meets Thelma and Louise styled video. Grace Potter reflected on the meaning of Mother Road, saying, “In Grapes of Wrath, John Steinbeck called Route 66 the ‘The Mother of all roads…the road of flight.’ As I zeroed out my odometer and started west on my road trip across the US, I hoped that driving the road of flight would give me a bird’s eye view of my life. But it didn’t take long to realize that I was not flying; I was running away. In the solitude, I found myself smashing open the piggy bank of deeply-buried memories. Those gems of my real-life exploits spilled into my creative consciousness and emboldened me to write an album that reaches far beyond what actually happened–launching me down the alternate-reality roads of what could have happened.” [via uDiscoverMusic]

Grammy-nominated Nigerian dance-pop vocalist Kah-Lo releases her new single ‘fund$’ on Epic Records. Spinning a tale of greed and glory, Kah-Lo’s latest single sees her fierce vocals cut with a darker edge. A powerful anthem that flaunts Kah-Lo’s intrinsic ability to seamlessly blend genres at her will, ‘fund$’ commands attention with its shiny synth stabs, punchy basslines, and rhythmic percussion. Kah-Lo’s playfully audacious lyrics add a feminist flare to the track as she sings, “Girls just wanna have funds, can’t have fun if you don’t have funds”. As with all of Kah-Lo’s originals, her vibrant persona shines through on ‘fund$’ as she teases her more rebellious side. ‘fund$’ arrives with an official music video that sees Kah-Lo take a murderous turn to enact revenge on those who have done her wrong. Portraying a femme fatale in this Kill Bill-esque music video, ‘fund$’ is an enticing introduction into Kah-Lo’s villain era. [via Find Your Sounds]

Madeline Kenney has announced her fourth album, A New Reality Mind, arriving July 28 via Carpark Records. Following 2021’s Summer Quarter EP, A New Reality Mind was produced and recorded by Kenney in her basement and processes the abrupt end of a long-term relationship. Along with the album news is a lead single, ‘Superficial Conversation,’ which also has a self-directed video. “‘Superficial Conversation’ is my way of looking back at the ways I shrunk myself or ignored my own needs in favor of the needs and desires of others,” Kenney explains. “While I wish I had acted differently, I want to be kind and forgiving to my past self and be able to grow and move forward with more power and love.” Of the video, Kenney says: “I wanted the video to show a forced transformation, from the inside and out. Jess Bozzo’s choreography really captured what I wanted to evoke; a painful change that becomes a pretty joyous opening with room for desire and play.” [via Stereogum]

Australia’s acclaimed alternative dance trio Haiku Hands have returned with a new single and music video. Claire Nakazawa, Beatrice Lewis and Mie Nakazawa are on fiery form on their new track, titled ‘Nunchucka’. A dancefloor cut with punk energy, the addictive track offers an instant sonic adrenaline rush. “A super charged high energy self affirmation anthem for anyone who wants to wipe off the patriarchal stain of self-loathing,” the band says about their single. “A song to listen to before you go out, when you’re out, and when you get home. Enjoy your life.” The accompanying music video, directed by Triana Hernandez, sees Haiku Hands and a set of mysterious characters matching the rebellious spirit of the track. [via The Brag]

Up next from LA’s resident femme-punk royalty, The Aquadolls, comes ‘Far Far Away,’ the final single before the June 2 release of their album Charmed. A slice of upbeat summer optimism, the song featuring production by Chris Szczech (The Goo Goo Dolls), is a call to arms for anyone looking to ferociously take back their independence. In the single’s official video directed by longtime creative collaborator Jenna Houchin, the band is drenched in a retro malaise as they attempt to bust out of the norm. Lead singer Melissa Brooks said, “’Far Far Away’ is a fairytale twist on the working class, discussing that the only person who can truly save you is yourself. Recorded by Chris Szcech, this up-tempo track features surfy guitar licks reminiscent of early Vampire Weekend and hand claps to ensure that anyone can clap and chant along to this modern self-love fairytale.” Bassist Keilah Nina chimed in saying that this is, “A tune about struggling with work-life balance. The painful reality of getting trapped in the same 9-5 routine and feeling blocked or detached from personal growth, success, and/or love as a result. It’s also a tale of acceptance, sometimes you have to pull yourself out of the dirt, and that’s okay!”

Sarah Kinsley is pleased to share details of a new EP, Ascension, for release next month via Verve Forecast/Decca Records UK. The EP is released on June 9, and previewed with ‘Lovegod’ and accompanying music video. The video is produced by Sarah who also hand-crafted the ‘Lovegod’ character who features throughout the video. The song itself was written, performed, recorded, produced, and mixed by Sarah. Sarah Kinsley on the new track: “’Lovegod’ is the most devious I think I’ve been in my writing, My own ‘lovegod’ is a perfect lover, an answer to a prayer, an antidote for romantic pessimism. Where can one find love these days? Why do we need it? Why do I find myself begging for some spiritual deliverance?”

Berlin-based, Belgium-raised rising pop icon MOLI returns with her dreamy new single ‘It’s Not My Fault’. Produced by JUNGLE’s Tom McFarland, this nostalgic new cut evokes the 80s with its shimmering electro-pop leanings, wavy synths and MOLI’s signature delicate, soulful vocals. Speaking on the single, MOLI said – “‘It’s Not My Fault’ is about coming to the realisation that you need to leave something that is bad for you and finally feeling a glimpse of that sense of freedom you were missing after feeling pulled down and heavy for so long. I personally felt like certain romantic situations I was in really weighed me down. They felt very one sided. Always chasing people, putting them on a pedestal and putting so much of myself and emotions into it only to end up feeling like I was never enough for them. I would feel so vulnerable and susceptible to being taken advantage of. I didn’t feel like being my true self was okay as I was so focused on pleasing the other person. Making it to the other side of that and experiencing healthier relationship dynamics made me feel so much lighter, confident and independent. It is so freeing to be unapologetically me. At the same time, I have been learning to navigate a very male dominated industry. I feel a lot of growth has happened for me over the last few years. I have my own opinions and I am confident in what I do which has made such a big difference if ever I do end up in a room with someone who I do not feel respected by. It is a very liberating feeling to not be so dependent on someone else’s validation, opinion and it’s that sense of freedom and confidence that I hope ‘It’s Not My Fault’ portrays.” The single arrives with a slick and sumptuous video shot by director Marek Partyš and inspired by the drama and hijinks of old films. Transporting viewers back to the 80s, the visual is set in a casino following a host of glamorous con-men manipulate a roulette wheel, before MOLI in her most baddass, empowering performance yet, unexpectedly swoops in and steals the final riches. Speaking on the video, Partys said -“The first time I listened to the song It is not my fault, I got a whiff of the 80s. The mysterious club, the strange characters, the detective, the casino, the smoke, all popped into my mind while listening to the song. It was a fun ride to piece all these elements together into a story where the singer Moli herself plays one of the main roles. And I’m convinced that she did it perfectly. The whole crew deserves a lot of thanks and respect for helping us with the whole production process.”

Sydney Sprague has released ‘smiley face’ via Rude Records. The video, which was done entirely through CGI and a phone app called “in3D”, which takes viewers through an metaverse driven, wild world of Sydney and her band as avatars, complete with dancing and an epic ending of Sydney flying into the sun. “The visual parts of making music can be really stressful for me,” explains Sydney” “… so going into the making of this video the most important thing to me was that everyone involved was having a good time. That’s why I really love this video, because every part of it was us going “what’s the dumbest thing that could happen” and doing that.” “smiley face: dance-y indie pop/rock. I wrote ‘smiley face’ about this dream I had that made me wake myself up because I was laughing really hard out loud, ” she continues.

Turning the page to a new chapter, multi-platinum singer-songwriter Bishop Briggs shares a confessional new single entitled ‘Baggage’. Bishop also announces the arrival of her highly anticipated new EP, When Everything Went Dark – out June 23. On the track, Bishop embraces her stark humanity like never before. She adds, “I am not perfect. In fact, I’m quite messy. I could say life is messy, which it is, but part of becoming an adult has been acknowledging the messiness that I have too. ‘Baggage’ is the first song where I stand in the mud and triumphantly stomp my feet in it. I can only hope that others feel empowered to own their version of messy and know that they aren’t alone in it. I have found that when I unabashedly show my imperfections and my wounds I am growing. So, there you have it, that’s my baggage.” Re: the striking accompanying music video for the track, Bishop comments: “I didn’t know how well I could hide my sorrow until I did it. Outwardly I would have fleeting moments of socially acceptable niceties and then the minute I was alone I would dissociate, completely unable to function. How could these two extremities exist in one body? It was and is exhausting. I wanted this music video for ‘Baggage’ to show that our blue circles aka our trauma can be meticulously hidden even if someone appears okay on the outside. I hope that whoever watches knows that they are not alone and that there’s a community of people waiting to be supportive.”

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BEX has dropped a brand new single, ‘Tiptoe’, sees the artist’s 2022 debut and features heavy bass plucks, annihilating drums, and witty vocals across a riotous music video. Describing herself as, “a punk-rocker who wants the music to speak again” BEX is a young artist looking to reshape the rock industry through a lens of hard-hitting riffs, feminist lyrics and cutting-edge videos. Amongst this BEX balances out all the things that “suck,” such as: sexism, racism, fast fashion, judgementalism and heartbreak with pleasantly uplifting things like: riffs, self-expression, expressive art, inclusion, equality, feminism and last (and certainly not least) respect. Speaking about the track she says: “Lyrically ‘Tiptoe’ is about males who take advantage of women, ‘just because we perform it doesn’t welcome you off stage’. The chorus reflects on men taking action and the consequences that come from it. Musically the track is just riffs, fat riffs. A simple punk structure with two alternative bass lines that compliment each other. ‘Tiptoe’ is simple but meaty. The song is filled with alot of rage and rebellion against female norms, standing up for myself/ourselves and other females who have been in vulnerable situations. The track is in favour of post modern feminism.” Recorded in the first lockdown, ‘Tiptoe,’ is a track produced by Sam Cramer, and with BEX’s bass tones all created by hand on a custom pedalboard. ‘Tiptoe’ arrives with a vivid official video co-directed by BEX herself and videographer/photographer Olivia Brissett. Matching the soaring and beckoning energy of the track, BEX says of it: “The video is a visual representation of my anger and rage in the song. Also representing female empowerment, and lastly… showing off my handmade outfits and masks.” Honourably gifted across the arts, BEX is not just a musician, as she admits, “I hand painted the artwork on a canvas,” about the single’s artwork. Continuing her love for curating BEX expands on some of the projects she’s working on: “I have been making a zine that I am going to get printed, it’s like a little lyric and expansion book, all handmade. I also self directed the music video and I am currently in the process of editing it! I love making things, I made all the outfits for the music video as well as the masks. Nearly everything is DIY, I love having the ability to portray my personality creatively.”

In 2019, the Australian musician Stella Donnelly released her debut full-length, Beware Of The Dogs. Now she’s back with her sophomore album, Flood, which was written while Donnelly moved between various cities in her home country during lockdown. “I had so many opportunities to write things in strange places,” she said. “I often had no choice about where I was. There’s no denying that not being able to access your family with border closures, it zooms in on those parts of your life you care about.” Now, she’s sharing the playful lead single ‘Lungs,’ which comes along with a video that Donnelly co-directed with Duncan Wright. “Very loosely based on the Banded Stilts of my album cover, the character I play in red is a wobbly adult, doing their best with their new set of legs and responsibilities, trying to make it look easy but very much on unsteady ground,” she said in a statement. “I wanted this video to celebrate the child, firm in their footholds, intimidatingly honest, not to be messed with, they are the strength and power of this video no matter how much I try to assert myself as the boss.” [via Stereogum]

Phoebe Green will release her debut album Lucky Me on August 19. The songwriter has something special, with a string of project illuminating the patient innocence of her lyricism. The pensive title cut is online now, the optimism of the title undercut by word-play that deals with Phoebe Green’s own insecurities. She comments: “‘Lucky Me’ explores the idea of disguising self-destructive behavioural patterns due to a feeling of guilt for living a seemingly easy life. I’m very lucky in so many ways that I almost feel ungrateful for still experiencing such difficulties with my mental state. I frantically search for a trivial, tangible cause of distress so that I don’t have to dig too deep or accept that I might just be a bit mentally fucked, then altogether silence myself when I imagine how others may be perceiving me and my actions. The song represents the common defence mechanism of invalidating and dismissing my emotions before anyone else can.” Phoebe Green continues: “I wanted ‘Lucky Me’ to be the title track of the album as this is very much a running theme throughout; analysing and dissecting my experiences and emotions as opposed to feeling them, as they feel easier to digest that way. The title almost feels sarcastic and snarky depending on which way you look at it, and as I use humour to cope a lot of the time it does seem fitting. But I am actually extremely lucky to still be here so there is some sincerity in there somewhere.” [via Clash]

Down to the name, Number One Popstar makes no attempt to hide what she’s about. A mix of winking satire and loving tribute, the pop project spearheaded by singer and comedian Kate Jean Hollowell is both a quintessential chart-topping indie pop idol and a witty, irreverent send up of the genre. Having been likened to the Andy Kaufman of pop music, Number One Popstar is the sorely needed injection of humor we didn’t know was needed. Looking for relief from all her worries and woes, Number One Popstar is back with her latest single, ‘Dance Away the Pain.’ Full of glossy ’80s synths, the track sees Hollowell use her quirky strain of pop as a form of escapism, delivering a dark yet catchy hook of “My depression makes me go insane/I just wanna dance away the pain.” Not quite as overt as an SNL skit or a Weird Al Yankovic track, Number On Popstar manages to strike the right balance between humor and finely crafted melodies without making the music a joke. The single arrives alongside an equally absurd visual directed by Hollowell herself. Clad in a neck brace, the music video shows Number One Popstar hitting up the early bird special at the local family restaurant (which fittingly also looks like it hasn’t been updated for decades) to stuff her elderly compatriots’ faces and naturally dance away the pain. “I feel like pop music, especially pop music videos, are filled with young cool people, but I want to make music that brings joy to everyone, at any age, specifically 70+,” Hollowell says of the visual, which features a cast made up of real life friends she met at a Zumba class. “My hope is that this song is a celebration of not just dancing, but acknowledging the pain you’re going through.” [via PAPER]

Mysie has released a new video for ‘gin + juice’. It’s a cut from her new EP joyride, out now via Fraser T. Smith‘s label 70Hz, about the first time she met her ex-partner; “that exciting feeling I got before we were together,” she explains. “What I realise between every project is that I’m learning as I go,” she adds, of the EP as a whole. “I forget that’s what life is about, and I’ve learned so much from Joyride. It served as therapy to me.” [via Dork]

Rapidly rising Australian punk rock stars Teen Jesus and the Jean Teasers are thrilled to release their debut EP Pretty Good For A Girl Band via Domestic La La. To celebrate they’ve dropped a video for ‘Girl Sports,’ their blistering new single which was written in honor of the male dentist who said that bassist Jaida Stephenson should stick to “girl sports” after knocking her teeth out skating. Featuring nods to three classic teen films, the ‘Girl Sports’ video is everything you’d come to expect from the four-piece; in your face and won’t back down, but they’ll still have some fun along the way. On the video, Teen Jesus and the Jean Teasers say, “We had so much fun filming the ‘Girl Sports’ video. While the song encapsulates a lot of frustration and anger, we wanted to create a visual element that brought a more light-hearted feel to a song that touches on some pretty frustrating experiences a lot of women and non-males would relate to. We wanted to create a fun take on the idea of ‘girl sports’ by drawing inspiration from sport scenes in Clueless, St Trinian’s and Twilight (we hope we did the iconic pitching moment justice). We wanted the video to be fun as possible because everything we wanted to say, we had already screamed in ‘Girl Sports.’ The video is basically a big middle finger, you can’t touch us moment, to all the men that had and continue to look down on us.”

Los Angeles trio Lost Cat share their second single, ‘Bitch Fight,’ the latest track off their upcoming self-titled debut album, Lost Cat, due May 27 via Lolipop Records. As the rollicking fuzzed-out punk rock track proclaims, “If you don’t like it, you can go to hell!” Speaking on their newest single, band member Kiki wrote: “‘Bitch Fight’ was quietly written in my parent’s garage while they were sleeping…Originally, the lyrics were fist fight but when I brought the song to practice, Lucy thought she heard Bitch Fight and that’s where the name was coined. The song still needed a few more words, so the remainder of the song was again quietly written but this time at Angie’s dad’s house as he slept.”

Los Angeles hard rock outfit Starcrawler have released an official video for their single ‘Roadkill,’ directed by Gilbert Trejo (son of actor Danny Trejo) and featuring a cameo appearance by none other than Steve-O of Jackass infamy. In the video, the band is chased through the streets of LA by a raging pink jalopy with a grudge, driven by Steve-O. Interspersed with a very cool, stylized performance shoot, ‘Roadkill’ is perhaps the best example to date of Starcrawler’s super-swanky drip being fused with hard rock and punk. In talking about the track, vocalist Arrow DeWilde said, “‘Roadkill’ is about anyone that tries to dig their heels in the ground and stand in your way. We’ve all had people try to tear us down, and sometimes you just have to run right through them.” [via Metal Injection]

Award-winning French pop trio Hyphen Hyphen unveil a new single and accompanying music video, ‘Don’t Wait For Me’. ‘Don’t Wait For Me’ was co-written with six-time Grammy winner Glen Ballard (Alanis Morissette) and mixed by Charlie Holmes (Ed Sheeran).“In the midst of chaos, we’ve chosen the light! Here is our new song ‘Don’t Wait For Me.’ We had so much fun writing it with Mr. Glen Ballard, hope you’ll feel the energy. Don’t wait anymore!” says the band. “It was a great privilege to be invited into the creative circle with Hyphen Hyphen,” says Ballard. “Their exuberance and talent was a great inspiration. This band has joy and energy at their core…I’m forever a Hyphenate!”

The singer Carlota Flâneur broke onto the music scene a little less than two years ago with a her tender and colorful pop sound. Her first album uncertainty, will finally be released on September 16. On it, Carlota Flâneur explores all the forms, manners, angles and colors of pop within ten songs that stick in the memory and introduce the world into a fantastastical universe. Now, Carlota releases ‘lungs,’ the first single that the Barcelona artist is sharing from this first LP. It is a fresh and catchy song that hints at the next steps for the young singer. In the video clip for ‘lungs,’ Carlota Flâneur speaks to herself in different worlds full of color, snow and stars, creating a narrative between the apparently real and fictional spaces through a telephone as a common thread.

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