Last year, Suzie True released their sophomore album Sentimental Scum. Last month, the LA rockers shared ‘Angel Baby,’ and now they’re back with ‘LEECHES (PLAY DEAD!),’ produced by Jon Siebels of Eve 6. “This song is about being a life-long people-pleaser and the difficult journey of trying to learn not to be,” the band said in a statement. “Women are taught to fully give themselves to everyone and everything around them, making everyone else happy and comfortable at the expense of our own happiness, comfort, and sense of self. Most of these lyrics are specifically about losing yourself in a relationship, realizing it, and then working towards healing and rediscovering yourself. It’s about the murky area between loving yourself and loving someone else that feels so easy to get lost in.” The track starts off sounding like the Cure’s ‘Just Like Heaven’ before catapulting into their typical punk-adjacent sound, which they describe as “if the Powerpuff Girls started a Blink-182 cover band.” [via Stereogum]

The Meanjin and Yugambeh-based musician LAVELIN has made waves with her dark fantasy music. Her recent single ‘Addicted’ is a seductive, toxic siren’s song, and she has now released a music video to match ahead of her debut EP Forget About Us, out May 24. The 80s-style synth and drum machines in the song make for an alluring journey back in time, and paired with her vintage prom dress and oversized bows, this music video is an eerie retro dream. A divine, dark atmosphere is contrasted with the hyper-feminine imagery of the singer’s flowing pink dress and ribbons, making an ominous, intimate music video that unsettles the senses and perfectly compliments the coquette seduction tone of the song. The creative team for the music video, Jemma Morley, Shannan O’Neill, Luke Wormald & Jayden Bate, made sure to capture a video worthy of the fae. The fairy lights and natural filming environments make an alluring video that invokes a sense of timelessness and placelessness. Though the production had its difficulties, it came together seamlessly, LAVELIN says, “Originally the music video was going to be on roller skates, however with the brutal summer rains and my apparent lack of coordination we ended up throwing those plans out the window and getting creative as a team on the spot to shoot the film.” This creativity shines through in this moody, glowing music video that feels undeniably personal, and only builds anticipation to see what her upcoming EP has in store.

Helena H. Rebensdorff aka Brimheim shares the music video for her new single ‘Into the Ooze’, which is taken from her critically acclaimed album RATKING, which came out March 22 via Tambourhinoceros. The new song follows the previously shared singles ‘Literally Everything’, ‘Brand New Woman’ and Normies’. Her vocals are a force of nature and the songs on RATKING are bold and always take a surprising turn. She effortlesly glides from soft ballads, gut-punching alt-rock to a more upbeat pop sound. Now, she shares the thrilling and surrealistic music video for ‘Into the Ooze’, directed by Heiðrik á Heygum. [via Turtlenek]

Following the release of appetite-whetting single ‘The Thrill Of It’ earlier this year, Liverpool’s Pixey has now confirmed that her debut album Million Dollar Baby will arrive on August 2 via Chess Club Records. It comes after a quartet of smaller projects and was written between her native Liverpool and London. Produced by Pixey herself alongside Tom McFarland and Rich Turvey, Million Dollar Baby is set to unite her love for nostalgic ’90s breakbeats with her flair for modern alt-pop earworms. Speaking about the album, Pixey has shared: “It’s the final form of years of trying to prove myself. I’ve always felt as if I’m so close to something but never quite there. This is the story the album tells; navigating the perception of myself through the male gaze, whilst also trying to take some power back and form my truest identity. The sentiment of the album is this: the path to fulfillment isn’t a performance for others but instead, is a journey of becoming your authentic self.” To mark the announcement, the Scouse songwriter, producer and multi-instrumentalist has shared the LP’s title track, as well as confirming that she’ll be heading out on a headline mini-tour of the UK this Autumn in support of the record. “‘Million Dollar Baby’ was born from a conversation I had with a girl in LA who was desperate for notoriety,” she has said of her new song. “The track is satirical at its heart, narrating the absurdity of chasing fame and sugar-coated ambition. It reflects a lot of truths I realised while writing the album. The performative nature of the music industry often peddles illusions, and real fulfilment comes from writing the music itself.” [via DIY]

Frances Forever has announced the release of their debut full-length album Lockjaw, set to drop on June 28. The news comes alongside the unveiling of their new single and video, ‘Troll’. Reflecting on the project, Frances explained: “I’m so excited to announce my debut album, Lockjaw. This project contains my favourite songs I’ve ever written, and I’ve never put so much of my heart into something. It feels like my baby, and I’ve spent the past two years perfecting it,” adding, “It’s a dream come true to share this with you. Lockjaw era baby!!!” The newly released single ‘Troll’ is “an anthem for the socially anxious that I initially wrote as a joke after blowing off going to a friend’s party, because sometimes I want to hermit inside forever and become a little monster no one wants to talk to. It feels so good to cancel plans, to make friends with the snails and never wear pants. I created a little world I want to live in when I don’t feel like a person.” [via Dork]

In 2022, Isabella Lovestory unveiled her debut album Amor Hardcore. Now, the Honduran pop and reggaeton singer is sharing the new song ‘Botoxxx,’ and teasing a new LP coming this fall. ‘Botoxxx’ is accompanied by a music video directed by Ariel Poupart and conceived by Lovestory, who explains it is “an exaggerated fantasy of the desire to be beautiful,” she said. “The tension and fear of losing that beauty, and surrendering to the antidote. A contrast between beauty and monstrosity and how they both ultimately need each other. Decadence turned into a horrific fever dream.” [via Stereogum]

Dimmer live bandmate with Shayne P. Carter and fourth member of Mermaidens for their summer album launch tour, it’s time for in-demand Tāmaki Makaurau songwriter Louisa Nicklin to saunter back into the solo spotlight. She’s announced her second album The Big Sulk, produced by the aforementioned Carter and releasing in full on August 23, heralded by hauntingly powerful lead single ‘Thick’. Nicklin’s startling vocal talents will make the hairs on the back of your neck stand up straight, as ‘Thick’ lyrically and sonically considers “the concept of leaning into a situation as a means of escaping thoughts” via muscular rhythms and crypt-like, deeply reverberant atmospherics. Directed by Ali Burns and made with support from NZ on Air, the accompanying video for ‘Thick’ is like a fading polaroid of a distant Aotearoa, the morose-looking Nicklin’s loud fashion and gelatinous food feels alien yet queasily familiar when set against her spine-tingling track. She says, “‘Thick’ was an opportunity to play around with strange sounds and fun little riffs, incorporating lots of Shayne Carter-inspired guitar moments. The video was inspired by 70s food and style. We wanted to lean into some of the strangeness of the food from this era — it’s mildly unsettling but you can’t quite put your finger on why.” [via Under The Radar]

Genre-defying duo SOFI TUKKER have formally announced their anticipated third album Bread set to arrive on August 23. It’s preceded by the lead single ‘Throw Some Ass,’ which seems poised to become a booty-shaking anthem—though the provocative song’s subject matter was actually based on a more serious concern: Hawley-Weld’s journey to seek a cure for her chronic back pain. “When the brain is anticipating pain, it creates more pain,” she revealed. “Eventually my neural pathway of pain got so strong that, even when there was no structural reason for it, I became chronically in pain. The inverse was true too. When I told my body that it’s safe and free, I was able to re-write the neural pathway. I was so mentally happy and free in the moments of throwing ass that my brain re-wired itself.” “The song started where I was working on some Brazilian funk-inspired drumbeats,” added Tucker on the track’s instrumental. “This was right after we had spent some time in Brazil at Carnaval last year. At 6:00 a.m., we went into this nightclub under the parade. Someone was playing a baile funk set, and I was blown away. The song really gives the vibe of that club, Carnaval, and Brazil.” The single arrives with a wild video directed by Aerin Moreno, filmed at Palácio das Laranjeiras, the staggering residence of the governor of Rio de Janeiro. [via Flood]

The emergence of Raven Numan as the next crossover hope from the gothic scene gathered traction with her recent single ‘Here For Me’. That combined with her debut track ‘My Reflection’ lured newcomers into her dark creative universe. There’s much more to come from the 20-year-old, starting with the release of her new single ‘Going Down’. ‘Going Down’ adds a thrillingly more visceral twist on Raven’s recent singles. Appealing to fans of the current dark pop scene, its grittier edge, razorblade riffs and clattering rhythms also echoes the greats of the ‘90s industrial scene such as Nine Inch Nails and Front 242. Yet for all its forceful angst and vehement influences, Raven brings a beguiling femininity that gives the track its own distinct identity. Her lyrics further encapsulate her heart of darkness, recognising – and warning against – the temptation to surrender to the one impulsion that you can’t reverse. ‘Going Down’ was written solely by Raven, with production from her regular collaborator Ade Fenton. Raven says, “I wrote ‘Going Down’ during an extremely dark period of my life. I was incredibly suicidal and it was very difficult for me to control my emotions and I ended up hurting a lot of the people close to me. I felt this immense amount of guilt and writing was the only way I could express my frustrations and sadness since it was hard for me to actually talk about it. So that’s what I did, I sat down and wrote exactly what I was feeling. It was a very intense and upsetting process but I felt this relief after I wrote this song, like weight had been lifted off of my shoulders. I pray that no one relates to this song but if you do, just know that you’re not alone and these feelings are temporary, life’s an incredible gift.” The ‘Going Down’ video also presents something fresh to the visuals for Raven’s previous tracks. Captured in a blood red filter, it sees Raven’s enigmatic aura at the forefront of her band – part of her artistry that will be fully unveiled with future live shows.

Kobra Paige is known for her diverse musical talents and emotionally charged lyrics, which have helped her build a dedicated fanbase. As she prepares to release her second project, focused on themes of social change, Kobra encourages listeners to seek self-liberation without losing touch with the world around them. Continuing this message, Kobra has released her latest video and track, ‘HOTT.’ ‘HOTT.’ is a high-energy rock-pop song with a dreamy, nostalgic vibe that grabs your attention from the opening guitar riff. The lyrics are intriguingly enigmatic, and Kobra’s vocals shift from soaring above the driving instrumentation to becoming gentle and intimate when the arrangement transitions to a more minimal sound. The track’s dynamic shifts and emotional intensity reflect Kobra’s commitment to exploring a wide range of musical and lyrical landscapes. As the music ebbs and flows, listeners are taken on a journey that is both exhilarating and thought-provoking. ‘HOTT.’ stands as a powerful testament to Kobra Paige’s ability to blend energetic rock with introspective pop, creating a sound that is both bold and deeply personal. Reflecting on her latest single, Kobra explains, “I have been waiting to light a fire under some asses with this song for 2 years. ‘HOTT.’ is about navigating our sense of self-worth in an extraordinarily, convoluted era of social media domination. The lines are getting blurred and we don’t have the mental hardware to separate reality from distortion. Crippling anxiety, increasing levels of low self-esteem, next-level bullying, body dysmorphia, compare and despair culture, amplified narcissistic behaviors, and competition for validation…..These are all parts of human nature but not the parts that were ever meant to be the loudest. Now we let those dark, subconscious beliefs run rampant and dictate who we are and the love/goodness we are worthy of receiving. I am personally still working on figuring out how to engage in SM in a healthy way and not let it disempower me or challenge my sense of self. It’s been a sick, rocky road and possibly the hardest mental hurdle as an introverted, music artist. Time for change, time to shake this shit up, and time to have more conversations about it. Let’s re-anchor in our own authentic truth. I invite you to come with me, in my new music video for ‘HOTT.’, as I check myself into ‘Dr. Worthlove’s Center for Self-Confidence’ , a medical clinic that is truly one of a kind. Dr. Worthlove said he could fix me and make me lovable from the outside in but turns out that isn’t how self-worth works!!” [via Wonderland]

Up-and-coming Anglo-American band Sunday (1994) have dropped their self-titled debut EP. They have also shared a video for the EP’s new single, ‘Blonde.’ Sunday (1994) craft songs inspired by the everyday magic found in the mundanity of modern life. Their music may evoke a nostalgic 90s cinematic film aesthetic, but their lyrics are laced with an acerbic self-aware wit and a dark sense of humor. Composed entirely within their one-bedroom apartment by the songwriting duo of Paige Turner and Lee Newell, alongside their drummer known simply as “X,” their debut EP is a love letter to the universal experience of love, separation and all the associated drama, beauty, and heartbreak that comes with it. The Latest single ‘Blonde’ sets the mood with its swaying tempo, chiming guitars, soft arpeggios, and emotive, evocative vocals. The band describes the track as “a song about reclaiming yourself and finding freedom after heartbreak.” [via Under the Radar]

While holed up in their family’s home in rural Vermont during the throes of the pandemic, Miles and Winter Donnelly AKA Muo Duo developed their unique sound – and recorded their first songs – in a sound booth they constructed by leaning two mattresses together. The rest, as they say, is history. Or perhaps, it was history in the making. Combining elements of alt-pop, indie, and hip-hop, Miles and Winter have received well-deserved fanfare not just for their genre-defying music, but also for their innovative videos and multi-media live performances. Now, the immensely talented siblings have released, ’20th Century Girl,’ the third single from their forthcoming EP, The Muo Theory. “This song showcases versatile production and storytelling, with an emphasis on our vocals,” shares Miles. “We tell the story of a girl watching the world go by from her cell phone. People were not made for this world run by the internet and social media. When your personality is split in so many mirrors it is hard to keep track of who you really are. For the song, Winter does her best impression of Ariana Grande in true vocal pop decadence. It’s pure drama.” The video for ’20th Century Girl,’ which was shot by Trevor Parenteau and edited by Rebecca Chiafullo, juxtaposes a Great Gatsby-esque aesthetic with a story that could only take place in the modern era.

Rita Mae has released her first single of the year, ‘Kiss the Sky’. Co-written with The Naked and Famous’ award-winning artist Alisa Xayalith, ‘Kiss the Sky’ takes listeners between grungy, stadium-ready noise and acoustic, mellow lines. Described as greedy, indulgent, and unapologetic, Mae’s reason behind the punchy lyrics is a want for everything – especially love and power. “This song was extremely liberating to write, because I ask for the impossible, I scream it at the top of my lungs, and while I sing those lyrics it somehow doesn’t seem quite so crazy,” she says. Written and recorded in Xayalith’s home studio in LA, and with Harry Charles on production, Mae says the track came together so quick it basically wrote itself. “It was an amazing song to write,” Mae adds. “One of those magical days where the song just pours out of you and makes sense straight away.” Accompanying the release is an enigmatic music video, directed by Oscar Keys. The clip shows Mae as an ass-kicking femme fatale hungry for love and power in a world of dark villainy and rockstar stardom. But instead of Mae earning these achievements truthfully, she gets it through brainwashing her victims. Filmed in a studio in Auckland, it was all hands on deck as Mae and her dancers went through high energy choreography to perfect the villainous energy her lyrics depict. “A very dear friend organised the dancers and choreography; which was fairly doable in rehearsal – and then suddenly much more difficult under bright flashing lights with contact lenses in!” Mae shares. According to Mae, her new release is the start of her “entering a new era.” [via Rolling Stone Aus]

Irish indie-folk duo Lemoncello are making power moves. The pair’s strident songwriting cuts through the noise, with their refreshing, organic sound gaining a cult following. Self-titled, Lemoncello’s riveting debut album was constructed at Analogue Catalogue Studios, where they both recorded and mixed the album to two-inch tape with producer Julie McLarnon at the helm. Album highlight ‘Dopamine’ is an immediate fan-favourite, a tale of modern life that feels as old as time itself. Lemoncello discuss the endless scroll of social media, being sucked into a tiny screen while the world outside passes you by. We’re able to share the video, directed by film-maker Sophie O Donovan. The pair comment… “The lyrics of ‘Dopamine’ are sort of up-front and in your face and so with the video we wanted to lean into the attitude but also not take the idea too seriously. The amazing team that worked on this with us – with director Sophie O Donovan at the helm – created a world that’s a mixture between bored housewives from the 1950s and some dystopian future where people never leave their homes. The concept for this music video was around nearly since the song itself – we thought it would be funny, the idea of the people we scroll past every day on our news feeds actually appearing in the room – a physical representation of the overwhelming feeling of mental space becoming more and more cluttered. As Claire and I scroll, watching curated versions of other people’s lives, our physical space fills up with the people we are watching. We had such a hilarious time on set with the crew and all the characters who had a gif style action to repeat over and over again.” [via Clash]

Kacy Hill has enlisted Nourished by Time for the new song ‘My Day Off.’ Hill and Sadie Wilking directed the pastoral video, in which Hill and some friends dance semi-nude in a field while Nourished by Time peers toward them through a magnifying glass. [via Pitchfork]

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Bonnie Trash is the drone-rock project of Canadian-Italian twin sisters Emmalia and Sarafina Bortolon-Vettor. They’ve shared new single ‘Teeth’ – a first glimpse at their debut album, which is due to be released later this year by Hand Drawn Dracula. ‘Teeth’ sees Bonnie Trash at their poppiest, recontextualizing a ‘Be My Baby’ beat (a nod to Ronnie Spector up above) before a wash of swoony, microtonal drones, the words telling of a love story that might be toxic. The band share the track with a self-directed video, commenting: “We created a short film to help narrate stories our Nonna Maria told us about being haunted and followed by a curse in her hometown of San Zenone degli Ezzelini in Treviso, Italy. That short eventually became the concept of our album, which is woven into our first music video, ‘Teeth.’ Shot at the Apollo Cinema in Kitchener, Ontario, ‘Teeth’ bridges generations of being haunted – we see ourselves watching our work without understanding that we too have conjured the curse. A malocchio follows.”

Manchester’s very own Robin Knightz is back with a new single dubbed ‘It’s About Time’ alongside visuals. The 23-year-old riser has been turning heads up and down the country since releasing her single ‘Fiji Drip’ back in 2018. Now signed to Sony 5K Records, the young artist has her sights set and is someone that should definitely be on your radar. Releasing a brand new single, ‘It’s About Time’ alongside some vibrant visuals, Robin Knightz has once again blown us away. The artist signature style of rap and pop sound complements the neon futuristic visuals perfectly. [via GRM Daily]

Later this summer, TOPS keyboardist Marta Cikojevic is releasing her debut album as Marci. We’ve heard a pair of tracks from it already, ‘Entertainment’ and ‘Immaterial Girl,’ and now she’s back with another one, the gauzy and breezy ‘Terminal.’ “’Terminal’ is my joke vapid lingo about being dead because something is soooo cool,” Cikojevic explained. “The song is about how music can be so overwhelmingly good it allows you to fully escape. David [Carriere] and I wrote the seed of this song while we were pregaming for a party that turned out to be shit.” [via Stereogum]

Next month, Chicago’s Beach Bunny will release their sophomore album, Emotional Creature. So far, the indie-pop cover stars have shared lead single ‘Oxygen,’ ‘Fire Escape,’ ‘Karate’ (with a video featuring a cameo from Bob Odenkirk), and now they’re back with another new single and video: ‘Entropy.’ Like the previous Emotional Creature offerings, ‘Entropy’ is a Y2K-era pop-rock blast, full of melodic guitar riffs, which are punctuated by Lili Trifilio’s yearning vocals. The video, meanwhile, continues down the previously discussed sci-fi aesthetic, with the band crafting a full action-adventure storyline inspired by Star Wars and Star Trek. [via Stereogum]

The A’s is a duo featuring two thirds of Mountain Man: Amelia Meath (also of Sylvan Esso) and Alexandra Sauser-Monnig (also of Daughter of Swords). Their debut album Fruit comes out July 15 via Psychic Hotline, and it features new interpretations of “lullabies, traditional ballads and rural standards […] and other music that Meath and Sauser-Monnig simply love to sing,” plus the original song ‘When I Die.’ It was produced by The A’s and Amelia’s Sylvan Esso bandmate Nick Sanborn, and it was “made with a makeshift orchestra of nylon shorts, hair, shoes, ice chunk, gravel, frog samples and other unexpected objects.” It also features vocals, electronics, and more from Nick Sanborn, guest vocals from Jenn Wasner (Flock of Dimes, Wye Oak) on the original song ‘When I Die,’ backing vocals from Alli Rogers, string arrangements from Gabriel Kahane on ‘He Needs Me,’ saxophone from Sam Gendel on ‘Copper Kettle,’ and guitar from Alan Good Parker on ‘Swing and Turn Jubilee.’ The first two songs released are a rendition of Harry Nilsson and Shelley Duvall’s ‘He Needs Me’ from the 1980 Popeye movie, and a rendition of the DeZurik Sisters’ ‘Why I’m Grieving.’ The former is sweeping and vintage in an early 20th century pop kind of way, while the latter is a whimsical, yodeling a cappella. [via Brooklyn Vegan]

Pixey is back with her new single, ‘Come Around (Sunny Day)’. The Liverpool newcomer’s first new music since last October’s Sunshine State EP, it arrives ahead of a project coming later this year. “‘Come Around (Sunny Day)’ is a 90s style summer tune I wrote around looped guitars and breakbeat samples,” Pixel explains. “I wanted to create a tune with an upbeat vibe but with the lyrics keeping to a more anxious undertone. It’s about struggling to say what you mean when someone won’t hear you out – something I definitely relate to!” [via Dork]

Bells Larsen has announced their debut album, Good Grief. Set for release on September 9, news of the record is accompanied by teaser single and video, ‘Double Aquarius’. “I love this song because it was born during one of the darker periods of my life, but is sonically quite bouncy and upbeat,” Bells explains.”I was listening to a lot of Soccer Mommy, Courtney Barnett, and Frankie Cosmos at the time, so I had developed an affinity for tongue-in-cheek lyrics melded with memorable hooks. This song is about blaming your blues on astrology.” Of the video, they add: “Contrary to what ‘Double Aquarius’ might imply, I’m not that big into astrology. I do know, however, that Aquarians tend to be spacey. I thought it might be fun to run with the astrology theme and have the video take place in space. Director Jack Harrison’s retro visual aesthetic lent itself really well to the video and we had a ton of fun playing around with the special effects (like me floating!). When I’m feeling off, I tend to ask myself if there’s something going on with me or if there’s just something in the stars. This video splits the difference and shows that it can be a bit of both.” [via Dork]

Nina Nesbitt will release new album Älskar on September 2. The title means ‘to love’ in Swedish, a nod to her heritage and a country that played a key role in the making of the record. Sessions for Älskar date back to 2019, but when the pandemic intervened Nina Nesbitt began completing sessions over Zoom, using the spare bedroom in her mother’s house. She comments: “Making this album was a completely different experience to anything I’ve made before, although a lot of the music was created remotely, I feel that I’ve processed so much and learnt a lot about the relationships in my life during the last few years. I wanted to capture all types of love in their raw forms, whether it be romantic, heartbreak, friendship, coming of age, familial or self love.” New single ‘Pressure Makes Diamonds’ is out now, a polished return with a lyric that discusses the way society treats women as they mature. Crafted alongside producers Jack & Coke, Swedish artist SHY Martin was also on hand during the sessions. Nina adds: “I wrote ‘Pressure Makes Diamonds’ about trying to navigate my way through the societal pressures I started to feel as a woman in my mid-twenties.” Director Wolf James worked on the video, a playfully stylish return from Nina. [via Clash]

Danish-Faroese Brimheim released the critically acclaimed album can’t hate myself into a different shape in January this year, and now she’s finished the music video for the title track. It’s a visual gem, made with the Danish director Tone Ottilie behind the camera, about bodies, shame, acceptance and the music video showcases different queer couples in their homes and intimate spaces. “We asked the actors to show us something meaningful for them. Friends, creativity, partners or spouses and we tried to show a pallet of heartwarming ways that queer people express their passions and show their intimate spaces. I think I kinda ended up making the video I needed to see myself. The overall message is that self love and love for others can be a way out of self loathing”, Tone Ottilie says.

A remarkably precocious multi-hyphenate, this songwriter, producer, and vocalist is busy doing it her own way, melding towards R&B with shards of ultra-colourful pop music. Recent single ‘Will We Ever Get This Right’ was a radiant offering, but we reckon floweroflove could have surpassed herself with the follow-up. Out now, ‘Hannah Montana’ has a cute sense of innocence, but it contrasts this with the world-weariness of an artist in bloom. Aiming for something “nostalgic, versatile, mellow, warm, and the feeling of home” she twists between her dual roles: the academic young student, and the hotly-tipped artist. As she puts it: “‘Hannah Montana’ is a reflection of how I’m a regular student on the weekdays but on the weekends I’m Flowerovlove.” [via Clash]

We are here to provide you with some much-needed escapism in the form of Hēir’s ‘Vertigo’. An ethereal tune that promises to enchant thanks to its all-consuming atmospheric production and the Russian singer’s other-worldly tone, we can guarantee that the woes of the real world will feel like a very distant memory upon first listen. “‘The difficulty in maintaining balance and the fear of letting go. The song symbolises the transformation we experience as soon as we leave a relationship behind, when we feel lost yet attracted to a new beginning and the unknown,” explains the artist when discussing her newest release and the meaning behind the tune. “The sample within the song is meant to simulate a video game, where you fall and get back up until you pass onto the next level. ‘Vertigo’ is the jump to the new level.” And, the accompanying music video is as out-of-this-world as the track itself. With the artist taking to a set of escalators underneath a celestial sky, the project promises to transport viewers away from their desks and into the depths of Hēir’s sweet-sounding and slightly trippy world. [via Wonderland]

Fearsome shredder, songwriter, producer and unconventional rock luminary KAYE is officially back with the single and video ‘Neon God.’ This week’s release, the title track off of her upcoming EP set to be released on August 5, ushers in the funky, flamboyant response to 2020’s acclaimed Conscious Control. “This song has so many layers of meaning for me. I was raised in a conservative Christian household, and to my Chinese immigrant parents, becoming a rock star was the most Satanic thing I could possibly do. I had a promise ring! I went to church camp,” laughs KAYE about ‘Neon God’. “One day, I snuck out of the house and experienced my first punk show, and that was when I was TRULY evangelized. I found belonging with all these other misfits, and THAT became my church. Since then, I’ve been fascinated by this idea of how not just rock stars, but politicians, celebrities, actors, tech leaders, news anchors—all have their own cults of personality. It made me think about what I worship now, as opposed to back then—has one idol just been swapped for another?” The official video for ‘Neon God’ was directed by KAYE’s sister, acclaimed filmmaker Liann Kaye (‘The Blessing’). This choreographed storyline flashes between the dark and the light as KAYE contemplates what in life is worth worshiping. In full rock-and-roll Devil style, she shreds on her guitar while adorning black angel wings. If one thing is clear from the video, this is KAYE’s pulpit and we all better tune into what she has to say.

Brooklyn-based alt-pop singer-songwriter, Sabrina Song, shares her first single, the contemplative track, ‘Doors’ and its accompanying video, from her forthcoming EP due out this winter. ‘Doors,’ sees Song gently explore toxicity, reckoning with ways to address a relationship that has remained unsustainable. A quiet edge exists throughout the track, where listeners may find themselves waiting for the beat to pick up, or explode, but it never does, brilliantly capturing the feelings evoked by the lyricism and song itself. Song explains,”‘Doors’ is about a toxic relationship where no matter what you do or say, they are never satisfied. I reference specific moments throughout my life where it feels as though I was letting someone down or being let down myself, yet was still made to feel as though it was my fault. The chorus shows that feeling you have when you just need to get out of a situation and be alone to process: “I don’t care how it sounds, I just want to go home.” The music video, directed by Zac Dov Wiesel, sees Song reliving high school moments, from getting ready for prom, to high school football games, a birthday party and more. One of the high school football players can be seen throughout the video, with whom things continually seem tense. Explaining the idea behind the video, Wiesel adds, “We wanted to capture this time in adolescence that is filled with such an odd mix of feelings. To portray something that is so serious yet so silly. Capture something that feels so real and is also filled with artifice. We imagined a lot of these scenes like moments frozen in time, like photographs. What does it look like to be winning but also be so hurt?” Tying the song into the video, Wiesel continues, “The song is about how the little actions a toxic person does can feel so big. We wanted to portray something that could be perceived as silly with real weight. We always wanted to create a mixture of tones, and I feel like that makes people uncomfortable, and I love that.” Speaking to the video’s juxtaposition of winning while also losing, Song explains, “We wanted to show these hyperbolized scenes of winning and success, and contrast them with the presence of this one intrusive figure. That feeling of everything going great, and having this one person who’s capable of spoiling every moment.” With the visual paired with the track, Song captures the intricacies of walking away from something that can feel good, but ultimately causes pain as she finds the strength to choose herself.

Dropping her new single ‘BONNIE (B-SIDE)’, KENZIE TTH pushes the boundaries on experimentation and effortlessly blurs the lines between alt-R&B and contemporary pop. Showcasing her smooth unmistakable vocals and slick songwriting prowess, the singer-songwriter layers this over an eccentric ear-worming production that instantly brings the vibe. Accompanying the release with an equally as creative video, the artist takes full control and provides an abstract visual that brings her non-conformist attitude to life. Speaking on the release, the artist said, “To me, Bonnie as a character is the girl that gets labelled ‘quirky’ or the ‘eccentric manic pixie dream girl; and feels like she plays a supporting character in her own life. I think we all have some Bonnie in us — the presentation and performance of self that then gets commodified and flattened into a two-dimensional object by others.” [via Wonderland]

With a decade of acting behind her, YDE aims to conquer the music world as duelling identities dominate her new single ‘Old Her’. ‘Old Her’ adds to her already sizeable fan base built from years of acting in Nickelodeon and Netflix tweener shows like The Haunted Hathaways, School of Rock, and Malibu Rescue. But like fellow thespian Jared Leto, YDE doesn’t consider music to be a sideline. She plays every instrument needed for a rock band – guitar, bass, keys and drums – and her piano skills are a prominent part of ‘Old Her.’ In the new video, the new and old YDE personas dance and grapple with each other while the lyrics summarise the ongoing struggle: “She miss the old her, even though the new her is better than the old her“. “The song is my perspective on growing up and feeling like life never gets easier,” YDE shares. “Each verse is a real-time reflection from different chapters of life that all point back to the sarcastic conclusion that ignorance is bliss.” [via Line Of Best Fit]

Chloe Moriondo returns with new single ‘Hell Hounds’. Out now, the single appears on the deluxe edition of her new album, with Blood Bunny Deluxe boasting alternate and acoustic tracks. ‘Hell Hounds’ is a single that has been brewing for some time, a perfectly-primed dose of rebel pop from the outlaw talent. “I’ve been waiting SO FUCKING LONG to release this and am so excited for everyone to hear it,” she comments. “This is the beginning of a shiny new era and i hope everyone loves it!! <3” [via Clash]

Brooklyn indie pop duo, Daisy the Great have returned just in time for summer with their new single, ‘Easy’ via S-Curve/Hollywood Records. The vulnerable breakup track comes accompanied by an official music video, co-directed by Daisy the Great and NYC-based filmmaker Edoardo Ranaboldo (AJR). “‘Easy’ is a breakup song about all of the complicated – i.e. not always easy – feelings that come along with the end of a relationship,” say Daisy the Great about the song, “The song is about learning to trust yourself, finding joy in loving yourself, feeling hope! At the same time, it’s about how sometimes even when something isn’t right, it still hurts to let it go. The music video was filmed in Brooklyn and features our whole band as well as choreography by our dear friend Matilda Sakamoto. With the video, we wanted to explore a lot of the ups and downs of a breakup. Sometimes we might feel chaotic, or really free and independent, or we might experience true grief for something lost. And in those tough moments we lean on our pals. So even though the video is a lot about the break up, it’s also about friends being there for each other.” [via Prelude Press]

Allison Ponthier wants to know: “When celebrities — especially misunderstood famous women — pass away, what happens after they die?” On Thursday, the songstress asked that question and explores utopic afterlife in the funky music video for ‘Hollywood Forever Cemetery’ off her new Shaking Hands with Elvis EP. “In this video, ‘Hollywood Forever Cemetery’ is a haven for those whose value and talents were taken for granted in life,” she tells Rolling Stone. “While I truly believe that anyone can receive the help they need to make life worth living, I always wanted to imagine the stars that were gone too soon in a place that respected them.” The video introduces viewers to “Hat Girl” after she dies and realizes she’s only remembered for being a starlet as she reads headlines dehumanizing her with headlines like “Starlet’s Latest Role: Coffin Filler” and “Hat Girl Sheds Final Tear.” She’s then accepted by the “kooky but lovable characters” at the cemetery, including a furried Elvis. [via Rolling Stone]

Two-time Grammy nominee Madison Cunningham announces new album Revealer and is set for release on September 9 via Decca Records. “’Hospital’ is written from this sort of half awake, slightly drunken, on the cusp of a nervous breakdown perspective,” Cunningham explains of her new single. “I think ultimately it speaks to the impossible condition of being sedated with information and trying to hold onto your sanity.” [via Total Entertainment]

Canadian goth pop artist POESY has released her haunting new single, ‘Multiply’. Her second taste of new music to come from her upcoming debut album, I Exist, ‘Multiply’ is about facing an all encompassing rage in the midst of pain. ‘Multiply’ follows POESY’s powerful and positive track, ‘Still Breathing’, serving as a perfect contrast to the other uplifting song. Eerie synths and sinister string arrangements really drive the track home as POESY admits, “I swear I didn’t mean it to end like this, but you know what you did.” She may not have wanted to fight fire with fire, but sometimes, as she states, “rage is a pretty thing”. [via Prelude Press]

Abby Roberts has shared the new video for ‘Video Girl’, the latest track to arrive from the singer’s anticipated debut EP Ashes. The new video sees the Leeds singer satirising unrealistic expectations placed on our lives by social media. It sees her taking a powder called Miracle-Lax in order to achieve an “insta-perfect life”, which is in keeping with the song’s powerful critique of social media’s dark side. “I wish that I looked like you. And lately I’ve been working on my smile too,” she sings on the new alt-rock driven track. Speaking to Rolling Stone UK, Roberts said of the new video: “I’m so in love with how the music video turned out. It was probably our most ambitious one so far with so much going on, there’s so many easter eggs & references, I recruited some fans from Tiktok too and you may even spot a few familiar faces! It was the most fun i’ve ever had filming a music video.” [via Rolling Stone]

Rising star, Iyla has returned with a brand-new single, ‘2LATE,’ out now via 3T Entertainment/Astra Velum/EMPIRE. ‘2LATE’ serves as the follow up to ‘Sad Bitch Bad Bitch,’ which marked the first taste of new music from the California-born artist and songwriter. ‘2LATE’ was written by Iyla and Y2 and produced by longtime collaborator Kadis. As one might expect with a new Iyla release, ‘2LATE’ arrives with an epic and otherworldly music video. The video was filmed on location in Frazier Park and Crestline in California and directed by longtime collaborator Patrick “Embryo” Tapu, with styling from Brookelyn Styles. Her exemplary, other-worldly visuals are fast becoming an Iyla trademark, each one delving deeper into her avant-garde approach to her art and fueled with important messages. “I wanted ‘2LATE’ to tell the heart-aching story of moving on from a toxic relationship, falling in love with someone new, and having your heart torn in two places at once,” Iyla reveals about the track. Speaking about the video, she adds, “The music video explores the pain of what that love triangle would look like if all three parties were forced to watch it unfold.” [via Vents Magazine]

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