Opening with banjo and playful country-pop flourishes, ‘Dog Eat Dog’ initially heads somewhere unexpected before revealing itself as unmistakably CHINCHILLA. As the song unfolds, rapidly delivered verses give way to a soaring, powerhouse chorus, allowing her remarkable vocal range to take centre stage. It’s a thrilling reminder of just how effortlessly she balances drama, vulnerability and pure pop brilliance.

The contrast between the buoyant production and the song’s darker lyrical themes is where ‘Dog Eat Dog’ truly shines. Paired with CHINCHILLA’s unmistakable visual style and larger-than-life aesthetic, the single feels every bit as bold and theatrical as her previous work. Ambitious, addictive and bursting with personality, it’s another huge statement from an artist who continues to carve out a lane entirely of her own.

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Speaking about ‘Avoidance’, CHINCHILLA says, “I wrote this when I was in a period of a lot of stress/burn out – I released ‘Little Girl Gone’ and it was viral and changing my life and I was running the project completely alone, no time to eat/sleep etc… I was also going through this break up and on my way to a writing session I received a message that sent me into an anxiety attack. I kept thinking ‘noooo I can’t feel like this right now’ which I guess made it worse.

“I felt like I could handle everything music wise however big or small – But I couldn’t handle facing the pain my heart was feeling behind those distractions, it was really excruciating to be honest.. I guess at that time I felt frozen and couldn’t respond at all – all I wanted to do was avoid it all and put my head under the duvet until it went away. I didn’t know how to cope with the anxiety of it all. I arrived at my writing session and although we were meant to work on another song, the feeling was overbearing and all I could do in that moment was write about this. We wrote and recorded it in 45 minutes and I’ve always been really attached to the song capturing a really raw moment. No lyric was rewritten, it was just a real bleed of emotions. When finishing the song we tried everything to build up the production but nothing felt like it had the magic of the original version – so the final song is mainly just that.”

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Commenting on the brand new single, CHINCHILLA says: “’1:5’ is probably the most personal and vulnerable thing I’ve ever put out. It’s about a feeling of imbalance I guess and lack of power. ‘Do you really only love sometimes? At a ratio of 1:5’. It’s withdrawal. The heartbreak and longing of a feeling. The lyrics are straight from a note on my phone from a time when I was journaling about it, it came so quickly. My heart bled into it and I just fell in love with the song. It soothes me – music is therapy.”

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Melbourne four-piece Parsnip recently announced details of Behold; their new album, set to be released April 26 on Upset The Rhythm. Now, they share brand new single ‘Turn To Love’ backed by a cinematic music video filmed on the lands of the Wurundjeri People. In the video, there’s a Wizard of Oz-esque transition as the chorus bursts with colour, with further influences drawn from Serge Lutens photography, the Oskar Schlemmer Triadic Ballet, Yohji Yamamoto campaigns, Art Deco costumes (à la Ziegfeld Follies) and American Circus attire from the 1870s-1950s. Of the song, Paris Rebel Richens says: “Imagine what the world would be like if everyone stopped for a moment or two every day and fixed their attention on the heart. All anyone really wants is love. This song is a plea, for everything that you do in the outer, the most profound changes must be made within. It is not a weakness, if anything, choosing love is courageous and wise.”

Maya Hawke has released her new single ‘Dark’. Following on from ‘Missing Out’, it’s the latest cut from her upcoming third album Chaos Angel, set for release on May 31 via Mom+Pop. This latest work sees Hawke collaborating with artists such as Christian Lee Hutson, Benjamin Lazar Davis, and Will Graefe, continuing her exploration into the intricacies of love and life through music. Maya explains: “‘Dark’ is a cut and dry love song about a relationship struggling to find its footing. It’s about trying to sort out the mixed bag of history and pain two people bring into a new love to find the path forward. “The chorus was written a few years ago when I was going through a particularly debilitating bout of bedtime anxiety: I would lay in bed with the fear that if I let myself fall asleep, my brain would forget how to breathe and I would die in my sleep. I saw a doctor who told me that I had to become okay with dying. He said if I accepted it, I would be able to sleep and would likely… not die. He was right, I didn’t die. And I wrote this song to celebrate it.” [via Dork]

With fierce energy and flirtatious charm, pop-rock songstress Zoe Ko has quickly become a musical force to reckoned with. Last November, she released her EP Baby Teeth, which featured a succession of acclaimed singles like ‘Rib Cage,’ ‘Petri Dish’ and ‘Pink Noise.’ The energetic performer has just released her newest single, ‘DIRT,’ a gritty dance track that doubles as an ode to New York City, with accompanying music video. “I’m from NYC baby,” says Zoe, enthusiastically. “I was raised there. Otherwise, I wouldn’t be the crazy, bad-ass bitch that I am. It’s the often looked down upon elements of NYC – the grit, the grime, the garbage, the hustle and bustle, the roaches, rats, and pigeons – that shaped me into an adaptable and adventurous person. When I moved to L.A., I missed all the grit and all the dirt back in NYC. I missed its rawness. There’s a fake showiness in L.A. that I just wasn’t used to. So, a few weeks into living here, I walked into the studio and started ranting about how much I miss NYC and its dirt. I loved the word ‘dirt’ so much that I turned it into a song – the kind of song that I might hear in one of my favorite New York clubs. I’ve learned to love L.A., in case you’re wondering,” she adds. “When I wrote ‘Dirt,’ I was homesick. And I was being a bit dramatic.” The official music video for ‘DIRT’ was directed by Brea Lynn. The ‘DIRT’ music video is an electrifying journey into the heart of New York City’s nightlife, capturing the essence of a wild night out in one of the city’s iconic clubs and Zoe’s favorite. With a gritty warehouse setting, booming speakers, and a touch of the unexpected—a Halloween rat head cameo—the video pulsates with the energy of a carefree evening with friends. About the video, Zoe says, “I have my girls with me, there’s a dirty grungy warehouse with huge speakers and a gross bathroom, what else do you need for a fun night out?! I wanted to have lots of dancing in this video because to me, going out is dancing out all your stress from that week. This music video was my favorite to make in my career so far! Everyone’s vibe was amazing on set and in a way it did actually feel like throwing a party!”

Alt-pop sensation AURORA has released her brand new single, ‘Some Type Of Skin’. Speaking of the release, AURORA says: “I’ve always been told that I should build some type of skin. I’ve always let myself merge too much with the world, not really knowing where the world ends and I begin. This song screams the muchness of it. And it’s delicious. Being human is really delicious, even though it’s more than any of us can handle. My god it’s a lot.” [via Line Of Best Fit]

Anna Prior is best known for her role as drummer in electronic act Metronomy, though she’s also a producer and DJ. Now, the multi-hyphenate artist is announcing her debut solo EP Almost Love and sharing ‘Fall Back’ with an AI-directed video from Tom Furse. “The song is about when I realized that love from a partner is never unconditional,” Prior said in a statement. “I think it’s where my lack of trust in relationships began, when my hyper independence began and when I started searching for people that I knew could never love me so I would never get hurt again.” Prior worked with James Greenwood, aka Ghost Culture, on the EP. Lyrically, it’s inspired by existential poetry of 19th and 20th century Portuguese romantics, which she found an appreciation for during her time in Lisbon. [via Stereogum]

Shannon And The Clams announced their new album The Moon Is In The Wrong Place in January, and so far they’ve shared the title track and ‘Bean Fields.’ Now, the Oakland garage rock eccentrics are back with ‘Real Or Magic.’ The Moon Is In The Wrong Place was written after the tragic, unexpected passing of bandleader Shannon Shaw’s fiancé Joe Haener. ‘Real Or Magic’ is a soaring ballad about a vision Shaw had, after Haener’s death, of him bathed in sunlight. The dreamy song captures the otherworldly nature of grief and our relentless ability to retain our connection to the ones we love no matter where they are. Below, watch the video directed by Vanessa Pla. [via Stereogum]

Olivia Rodrigo has shared a video for ‘Obsessed,’ which appears on her new expanded version of Guts, Guts (Spilled). Mitch Ryan directed the video, in which Rodrigo hosts a beauty pageant while despairing over the enviable attributes of her partner’s ex. Rodrigo co-wrote the song with Annie Clark (aka St. Vincent) and longtime collaborator Dan Nigro. [via Pitchfork]

London-based artist, Salwa debuted her album, Late at Night, in 2023 to widespread acclaim, delving into themes of guilt, infidelity, love, and the complexities of being a bipolar woman. Now, she shifts her focus to the visual aspect of the album, unveiling the video for its opening track and standout, ‘Oh! Lover’. As the track unfolds, Salwa’s delicate, breathy vocals harmonise seamlessly with the dreamy visuals. Set against a nostalgic backdrop, the visuals for ‘Oh! Lover’ effortlessly transition between mesmerising floral shots, while Salwa sings softly into the microphone, adorned in vivid white attire. As the viewer becomes immersed in the sentimental storyline of the track and the blossoming romance, ‘Oh! Lover’ strikingly portrays – both in its sound and visuals – the abrupt decline of the relationship. Salwa’s poignant lyricism describes the end, alongside the symbolic shift of the vibrant floral arrangements into monochrome, fading blooms. While the track explores the enigmatic dynamics of modern relationships, the music video, helmed by filmmaker and visual creator Ted Clarke, captivates with its allure and charm, offering a tantalizing visual interpretation. Ted describes the concept and approach to the project, explaining “The objective of the video was to craft a piece that was both simple and impactful, allowing Salwa’s presence to command the screen in a manner that complemented the soft, melodic nature of the song without comprising her confident, bold, and playful personality. We aimed for an aesthetic reminiscent of a fashion editorial, incorporating flowers to enhance the visual design and evoke the symbolism of a blossoming relationship followed by its eventual demise.” [via Wonderland]

In a tunefully triumphant return to dancefloor glory, Kiesza is back with ‘I Go Dance,’ the irresistible new single from her hotly anticipated upcoming album Dancing and Crying: Vol. 1, slated for May. In Kiesza’s words, “’I Go Dance’ was a song where the lyrics just rolled off my tongue in a matter of seconds. With about 50% of the lyrics already in place, (Canadian producer) Sugar Jesus had already begun the beat for it in advance, and the second I heard it, I jumped up and started dancing! It’s one of those songs that felt very channeled. It came pre-written from the ether, and it was up to me to fill in the blanks. One day, while working on another song together, I played it for (Grammy-nominated songwriter) K Sotomayor, and we began talking in depth about how everything in life, be it light or dark, is in some way connected to self-healing. With that intention in mind, we wrote the verse together and we’re able to fill in all the blanks effortlessly. It’s one of those tunes that is a bit of a wolf in sheep’s clothing. As simple as it is, there’s more depth than one might think upon their first listen.”

K-pop girl group YOUNG POSSE have officially dropped their sophomore mini-album XXL, alongside a music video for its title track of the same name. A music video for ‘XXL’ was also released in conjunction with the mini-album, featuring the members of YOUNG POSSE driving to a fast food restaurant’s drive-thru only to find out they’ve got a flattened tire. While trying to fix the tire, they press the ‘XXL’ button on a mysterious remote control, which transformed their car into a monster truck, causing the restaurant’s giant mascot to fall into the building. [via NME]

Unique, unapologetic artist CHINCHILLA has dropped the official music video for new empowering single ‘MF Diamond’. The video depicts a London diamond heist carried out by CHINCHILLA and her four accomplices of unsuspecting mature women, celebrating them for who they are rather than focusing on their age. The incredible video, directed by Ben Cole and CHINCHILLA, goes hand in hand with the song’s lyrics, representing CHINCHILLA’s ethos of authenticity as seen throughout all of her work. Speaking on the new video, CHINCHILLA says: “I wanted to make something inclusive without being corny or cliché. Something about elderly/older women makes me think of diamonds. I’m obsessed with Iris Apfel, who recently passed in the lead up to this video. She has always been on every one of my style mood boards, as well as Vivienne Westwood. They are awesome and I think ageing is beautiful – wrinkles only a reflection of every ounce of life we’ve had. I wanted to make a video that didn’t type-cast older women as frail and sweet, but powerful, strong, sexy, intimidating… and then obviously we all had to be doing choreo in the midst of a diamond heist because that’s just iconic. I didn’t want there to be any reference to their ages in the video – no gimmicks, they’re just fucking hot!”

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Speaking on the new release, CHINCHILLA says: “’MF Diamond’ is the banger that reminds you how great you are. It’s the soundtrack to the desperate paranoid obsessive love-spiral in your head that usually doesn’t verbalise itself into the outside world. It’s kind of all those thoughts you try and suppress when you’re in love to try and seem aloof and hard-to-get. And then it’s a pep talk to yourself reminding yourself that you’re a diamond. It’s everything all at once. I wrote this with Justin Tranter and Jussi on my first ever trip to LA, and we all instantly loved it, so I queue jumped it to be the next single. It just felt too exciting to wait on.”

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Greywind‘s ‘Antidote’ is an unforgiving blast of anthemic emotion; a biting dose of catharsis using the familiar lure of revenge as creative fuel. The track delves into the band’s darkest conflicting thoughts whilst also delivering their largest pop-driven chorus to date. Jointly produced by Sam Guaiana (Neck Deep, Silverstein, Like Pacific) and The Wonder Years guitarist Casey Cavaliere and mastered by Mike Kalajian (Saosin, New Found Glory, Circa Survive), it is but a taste of what’s to come from Greywind. “‘Antidote’ is full of all our rage,” says vocalist Steph. “We’ve always treated everyone with respect and kindness, but we saw so little of that in return. Really, these songs are a reminder to ourselves and to people listening that only you can save yourself. You can be in a dark place, and you can have all the support in the world—and I did, from Paul—but [sometimes] you’re the only one that can get yourself out of a toxic feedback loop.”

Scarlet Lastrapes’ debut single, ‘Shady Little Lady,’ releases via Eye Knee Records. In the tradition of artists like Lucy Dacus, St. Vincent, and Linda Rondstadt, Lastrapes blends pop elements of now and forever with her own, uniquely skewed imagination. ‘Shady Little Lady’ is a fresh slice of indie-pop, from a young voice both bright and assured. Speaking of the track, Lastrapes said, “‘Shady Little Lady’ is my own compulsion personified. I imagine she crawled through my ear one day, when I was just twelve years old. I believe neurodivergence to be sorely underrepresented in pop music, so, I tried to craft the song I wish I’d had when I was a kid, and first met Shady.” Her new track is also accompanied by a music video that blends live action and animation, providing a cinematic visual aid for the song’s storyline, tracking the pair’s relationship over the years.

Unapologetic rising artist CHINCHILLA has released the official video for her most recent single ‘Cut You Off’. Released last month, ‘Cut You Off’ is a power anthem loaded with feminine rage that explores the difficult emotional experience of finally cutting ties with a toxic person, representing the empowerment and freedom that comes with putting yourself first. Co-directed by the hotly tipped Harv Frost and Dora Paphides of Kode Media (The Last Dinner Party – ‘My Lady of Mercy’), the new video sees CHINCHILLA take a mind-bending journey through her brain and emotions, represented by different rooms as she moves from scene to scene. Commenting on the new video, CHINCHILLA says: “While writing ‘Cut You Off’, I was quite literally writing up the music video at the same time. I wanted the main idea of the video to emulate a dream world cult-like girly sleepover with your ‘girls’; the ceremony of blocking someone’s number. Each scene steps into different cutting-off worlds; an Edward Scissorhands hairdressers, a post-apocalyptic butchers, and a medieval blocking-their-number ritual… but make it all fashun.”

Breakthrough Australian singer songwriter Peach PRC takes you on an intergalactic trip aboard of her pink spaceship for the official music video for ‘Like A Girl Does,’ out now via Republic Records and Island Records Australia. In the music video, Peach PRC blasts off in a pink spaceship outfitted with four different “pleasure” rooms. Fittingly tongue-in-cheek, the visuals reflects the clever spirit of the lyrics and finds her on another level altogether.

Foremost professional whistler Molly Lewis has announced her debut album, On The Lips, alongside the brand new single, ‘Lounge Lizard’. Over the past year, Lewis has soundtracked one of the most emotional scenes in the Barbie movie alongside Mark Ronson and Andrew Wyatt, lent her singular talents to fashion houses like Chanel, Gucci, and Hermes, and supported Weyes Blood on tour. The brand new single, ‘Lounge Lizard’ comes accompanied with a music video directed by Ambar Navarro and conceptualised by Molly Lewis, inspired by Julie London’s apparition in 1956’s The Girl Can’t Help It. “Wherever you happen to be, I’d like you to let this song soundtrack the next few minutes of your life. I hope that it accentuates your surroundings, gently transforming them into the sonic equivalent of having a personal sax player serenade you from the bath,” she says of the song. [via Line Of Best Fit]

Biig Piig has shared new single ‘Watch Me’. The R&B voyager shared her excellent Bubblegum mixtape earlier this year, but the creativity hasn’t stopped. Moving between London and Paris, she draws on the energy of both cities for her latest single release. Out now ‘Watch Me’ was constructed alongside Zach Nahome (PinkPantheress, Teezo Touchdown) and Maverick Sabre, and it contains the energy of her zesty live shows. A song about empowerment, ‘Watch Me’ reaches towards new-found confidence, with Biig Piig commenting: “’Watch Me’ is a track about empowerment. I found confidence in pushing new limits with it. It’s a song to feel yourself unapologetically and to strut to. Telling the world, I am that bitch, watch me.” In a neat twist Biig Piig takes the reins for the video, her directorial debut, no less. Co-directing alongside NWSPK, she adds: “I had a really clear vision of what I wanted the video to be, even when writing the track. I wanted to build a surreal world of strength through movement. That vision was a series of settings that were striking and confident.” [via Clash]

New Orleans-based chanteuse Anna Moss has announced her debut solo LP, Amnesty, set for release on March 22, 2024. On November 4, Moss released album track ‘Gravy,’ and now, she has released the song’s surrealistic video. Directed by New Orleans-based director Sasha Solodukhina in collaboration with production designer and painter, Sarah VanDerMeer, the video features Moss in an underwater scene – like a painting come to life, a singular world imagined through several mediums. ‘Gravy’ came to life in the wee hours of the morning as Moss was playing upright bass in her kitchen. “The wood floors make the bass sound amazing, and I was sinking into that sound,” she says. “I was thinking about the idea of falling in love and how people are often so ready and willing to abandon the labels and confinements they had built for themselves. Falling in love is like shedding a skin and becoming a new person. I was fixated on that feeling….losing all senses and truly being lost in the sauce,” she adds. “The urge to merge is powerful enough to sway any pre-existing concrete beliefs and thoughts. Love moves us like nothing else.” ‘Gravy’ also features New Orleans legend, Ashlin Parker (Dumpstaphunk, Trumpet Mafia), on trumpet.

Irish alt/rock band NewDad have shared their latest track ‘Nightmares’ – the third to be released from their upcoming album, MADRA. Speaking of the new single, vocalist/guitarist Julie Dawson says: “’Nightmares’ is about longing for something or someone, even though you shouldn’t, for whatever reason. It’s about not wanting to fall for someone because you know it’d never work. Basically, just wishing you despised them instead of adoring them.” The official video was directed by Zack Arlo with co-direction by Oliver Day. In their words, “The Irish word for Nightmares is tromluí, meaning trom (heavy; burden; oppression) + luí (lying down; state of rest). We took this as inspiration for the concept of the “Nightmares” video, given how much the Irish language has inspired the band. As Julie escapes the mundanity of her bedroom, her fate is sealed with the bite of a forbidden plum.” [via Line Of Best Fit]

The Byron region artist GIMMY’s new single, ‘Tell Me I’m Your Girl’, is out now via Third Eye Stimuli Records. In a statement, GIMMY’s Gemma Owens described ‘Tell Me I’m Your Girl’ as a tacky love song. “I love romance, all the chaos and honesty of it, not just the shining stuff but all the grit as well,” she said. ‘Tell Me I’m Your Girl’ offers a sly challenge to the heteronormative status quo. “Being queer, it feels important to me to reinvent and challenge gender roles,” said GIMMY. GIMMY directed the ‘Tell Me I’m Your Girl’ music video, with Dom Sullivan handling the camera work. The video – which features Owens and GIMMY band members Samson (guitar), Kyle (bass) and Barclay (drums) – supplements the song’s interrogation of gender roles. “I came up with the storyline and concept of challenging gender roles,” GIMMY said, “with Samson dressed as a woman, myself dressed as a man and Kyle and Barclay dressed as neutral, furniture-like objects to represent gender neutrality, in the respect that women can also portray a masculine quality of being chivalrous as well as men.” [via Music Feeds]

Gossip have announced Real Power, their first new album in 11 years. The new album was produced by Rick Rubin, who previously worked with Beth Ditto and the band on 2009’s Music for Men. The follow-up to 2012’s A Joyful Noise is out on March 22 via Columbia. Check out the Cody Critcheloe–directed video for ‘Crazy Again’ below. “Getting to work with Rick again was a true gift,” the band told NME. “He doesn’t remotely care about outside opinions around what you could or should be making. He creates calm, positive, open spaces—emotional space and the actual physical vibe of his studio—that make you free to experiment.” “We felt genuinely cared about and supported,” Gossip continued. “We’re both such maniacs, he’s amazing at helping us focus the chaos. We were writing like crazy, there are probably 30-40 songs and bits of things that came out of it, just throwing everything against the wall and having the best time! It’s not only about music, Rick helps you connect with yourself and everything else comes out of that. It’s a deep jam. We trust him completely.” [via Pitchfork]

In a deft indie-rock bop, Lucy McWilliams breaks down the intricacies of building a fake persona that is more lovable than what she thinks her true self is. ‘Plastic’ tugs at the heart strings of anyone who’s felt the need to put on a front for others. We’ve got a few distinct sections here in this song and each of them serve a different aspect of this narrative. The broken down verse sections utilize playful but somber guitar riffs, wandering baselines, and a minimalist kick and snare pattern to set the scene. The chorus comes in with a fully Weezer’d fuzz guitar tone after a moment of instrumental break. Chugging quarter notes fill the space. There’s a small jam as well that leans on guitar harmonies that are reminiscent of 90s power pop. All of it captures that 90s vibe, but McWilliams’ delivery keeps things contemporary and interesting. [via Melodic Mag]

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