Earlier this month, St. Vincent divulged details about the follow-up to her 2021 album Daddy’s Home, describing it as “urgent and psychotic.” Now, Annie Clark is announcing the LP, entitled All Born Screaming, and sharing the lead single ‘Broken Man.’ “There are some places, emotionally, that you can only get to by taking the long walk into the woods alone — to find out what your heart is really saying,” Clark said in a statement. “It sounds real because it is real.” Friends who helped Clark with the album include Rachel Eckroth, Josh Freese, Dave Grohl, Mark Guiliana, Cate Le Bon, Justin Meldal-Johnsen, Stella Mozgawa, and David Ralicke. It’s her first self-produced album, recorded at her own Compound Fracture studio in LA, as well as Electric Lady in New York and Steve Albini’s Electrical Audio in Chicago. All Born Screaming will arrive via Virgin Music Group, though her last three came out through Loma Vista. In this month’s Mojo feature, she said, “I needed to go deeper in finding my own sonic vocabulary. I like to think of [the record] as post-plague pop, it’s a lot about heaven and hell – the metaphorical kinds. Which is appropriate, because sitting alone in a studio for that many hours I would say is a version of hell.” Below, watch the ‘Broken Man’ video, shot by Alex Da Corte. [via Stereogum]

mui zyu has announced her sophomore album, nothing or something to die for, which will be out in May. It’s the artist’s follow-up to Rotten Bug For An Eggless Century, which came out early last year. It was preceded by ‘everything to die for’ last month, and now project mastermind Eva Liu is sharing another single, ‘the mould.’ Here’s what she had to say about it: “‘the mould’ is a frosted glacial sweetie about the many meanings of mould. mould is very cool, and the right kind can give you super powers. unfortunately though, it’s less than ideal to be squeezed in to a mould that doesn’t fit snuggly. so i’m at the bottom of the rotten jelly bowl trying to work out what mould is the good kind, and what is the bad kind, and maybe realising none of it really matters at all, as long as i can get out of this steep, slippery bowl. this also marks a new approach for my writing indicative of the whole record in a kind of anti-overture-y way.” [via Stereogum]

CLT DRP are back with a new love song, ‘Until You Showed Me’. Out now via Venn Records, it follows the release of the Brighton-based trio’s latest album Nothing Clever, Just Feelings, and arrives ahead of sets at Strangeforms, Reverie, Noizze Fest, Ceremony, Brighten The Corners, 2000trees and more. Commenting on the track, vocalist Annie Dorrett says: “Femininity is a word that has haunted me my whole life, whereas Masculinity is something that I’ve longed for. ‘Until You Showed Me’ is a love song to my current partner for making my gender fluidity something that they nourish and make room for rather than dismiss or ignore. It’s no secret that a lot of people feel the need to lean into a gender role in order to gain respect or normalcy and if they mess with anything outside the binary it can seem threatening. Funnily enough I’ve found myself playing with my femininity a lot more now that I’ve found comfort in my skin again. This song is a little ode to the queers and anyone who strays from the binary in any way small or large. Break the wall from either side, that’s how we get ‘em to listen.” [via Dork]

Paramore have shared a new video for This Is Why track ‘Thick Skull.’ Billed as a sequel to the ‘This Is Why’ video, and again directed by Turnstile’s Brendan Yates, the video depicts an ill-fated van ride, with Hayley Williams in the back. Hayey recently said, “I can’t remember a time I didn’t want to be in a band. I knew not joining forces with similarly crazed people might mean I’d never be brave enough to create things and even if I did, I may never risk sharing them. Selfish? Maybe. Or lonely? Maybe to “leave the house” is a metaphor for risking true vulnerability. This job includes being a mirror or a blank screen for people to project onto and find themselves in. Being perceived in broad strokes will make you feel like a clown. Goofy and/or terrifying, depending on the day. But as I’ve grown up, I’ve felt myself, little by little, let go of the tireless need for people to see me as “good”. Indeed, everyday I learn there is no such box to fit neatly into. It’s taken a lot of hard looks in the mirror, over many seasons of adulthood… but no longer do I question my ability to lead Paramore with integrity (and a healthy dose of dark and self-deprecating humor). And just like a house can be a metaphor, so can a band. Paramore has been the vehicle by which me and my friends have learned our toughest lessons. It has kept us close and it has nearly killed us. You also have these metaphors in your life: What holds you back— what gives you courage— what force compels you to grow even when it’s uncomfortable or embarrassing. (As for Paramore, the band, not the metaphor: We have crashed the van. We’re finding new ways. We have new maps. We are starting from point zero. And this time, we’re reading the fine print.) Love to the ones who’ve needed our band the way we’ve needed it. Just know we are grateful.” [via Pitchfork]

PVRIS have released a new music video. The new music video, for the track ‘Burn The Witch’, is the brand new single from the American pop-rock band and marks their first new music since their latest studio album, Evergreen, which was released in July last year. The new song features collaborations with Canadian rapper TOMMY GENESIS and experimental DJ/producer/vocalist ALICE LONGYU-GAO as well as the track’s co-writer, Kanner. Speaking about the new song, band mastermind Lyndsey Gunnulfsen says, “I’ve been a huge fan of both Tommy and Alice for quite a while so it was an absolute dream to not only have them on a track together but to also get to be crafting the production around their parts. At its core, I just wanted to make a fun project full of some bad bitches in music that I love and create a space where we can express whatever we want and get to experiment sonically. I didn’t want to be overly precious about it, I just want to have fun and free flow! It should be noted that while there are already so many iconic and incredible female producers, writers, engineers etc. out there (I’m no trailblazer here), but there is nowhere near the amount that there should be. This isn’t even something to debate, go look at the statistics.” [via Distorted Sound]

Låpsley is back with brand new single and music video, ‘4AM Ascension Day’. It’s the first taste of an upcoming new EP, and follows the 2023 release of her third album Cautionary Tales of Youth. A press release explains that the track is “about the anxiety of a past infidelity and the guilt that lingers long after a relationship ends. In expressing such home truths with unflinching honesty, Låpsley seeks to release herself from the past – a mindset manifested in the song’s visual, with its imagery of sleepless nights and a kite in full flight.” [via Dork]

After weeks of teasing, Charli XCX has released her new song ‘Von Dutch.’ The Easyfun-produced track arrives with a music video that was filmed at France’s Charles de Gaulle Airport. Watch the clip, directed by Torso, below. Charli XCX also recently announced the title of her new album: Brat. The pop musician’s follow-up to Crash will arrive in the summer. Charli XCX has described Brat as “a club record,” explaining, “i was born to make dance music.. i came from the clubs.. xcx6 is the album i’ve always wanted to make.” [via Pitchfork]

The post appeared first on She Makes Music.

Brooklyn artist beccs shares the new single and music video, ‘Good Comin”. ‘Good Comin’,’ is a whimsical indie-pop track about running away from something good comin’; be it a healthy relationship, one’s higher potential, or quite literally one’s own orgasms! The lyrics are laced with sensual innuendo, heartfelt honesty, and some killer melodic vocal hooks that showcase beccs’ soulful and dexterous voice. Like anything that comes out of beccs, the bouncy, playful bop, produced by Godfrey Furchtgott, Eben D’Amico from Saves The Day, Jack Mullin, and beccs, is informed by a real depth around the artist’s struggle and trauma around intimacy. beccs says: “I think at the end of the day, it’s recognizing that while our bodies might be home to a lot of pain, they can also be home to a lot of joy and pleasure. I wrote this song to flirt with that idea; that after everything our bodies and hearts have overcome, we don’t just stop at feeling safe. We get to feel pleasure too. On the cusp of joy and in the wake of pain, ‘Good Comin’ lovingly and playfully asks us to inch ourselves closer towards a path of joy when other voices tell us to run.” The music video is shot with a queer/femme/trans crew of close collaborators and dear friends including Berriez plus-size vintage shop owner and stylist Emma Zack, choreographer Holly Sass, and director Julia Barrett Mitchell.

The Keening— the solo music project of Rebecca Vernon (ex-SubRosa)—announce debut album, Little Bird, out October 6 on Relapse Records. An ultra-melodic foray into haunted bogs, endless wells, secret crimes, jeweled cages and the unenviable curse of being a murder witness abound, Little Bird carries Vernon’s signature sounds throughout— deeply moving passages give away to cinematic, sprawling moments of chambered doom. As dark as this sounds, Little Bird also fills the air with a sense of magic and wonder – there is always a light at the end of the tunnel. The Keening weaves a web of lush orchestration, American Gothic sensibilities and wintry murder ballads set against a backdrop of dark, shimmering folk. Vernon’s previous band SubRosa echoes in The Keening’s chamber doom, flowing with flute, strings, harp, French horn, piano, organ and hammered dulcimer. The Keening’s Rebecca Vernon comments: “I’m excited to finally start releasing this music into the ether, along with the album art, and the music video for single ‘Little Bird.’ I think the film company 10 Seconds to Comply (Ken Whiting, Andrew Bonazelli and Manny OA) did a phenomenal job pulling together this music video and bringing their beautiful vision to light. They really captured the spirit and essence of the song. I’m proud of my friend Lucy Sharapata for playing the lead so well. I’m also excited to share the album art – two oil paintings by Lis Pardoe of Portland. Thanks to Relapse Records for making this happen!”

Fresh off supporting pop queen Ashe on her Australian-wide tour, Phebe Starr is on the brink of a new musical chapter. The modern world has developed an excessive fixation on automation, bombarding us with the ideals of efficiency and perfection. In this pursuit of short-term success, we risk sacrificing the essential elements of depth, individuality, and human connection. Over the past few years, our culture has encouraged us to navigate life purely through intellectual processes, as if these systems could replace our humanity and provide certainty. ‘One Step. Two Step.’ conveys a complex emotional journey within a relationship and the push-pull dynamic between two individuals far beyond surface-level emotions or logic. We brave this emotional rollercoaster for the payoff of human connection and interaction, and through these relationships, we connect with ourself and others.

Much-tipped indie force HotWax have shared new single ‘Drop’. Snapped up by Marathon Artists, the three-piece released their stellar debut EP A Thousand Times earlier this year. Taking time out to focus on their next step, HotWax will play an epic tour this Autumn with Royal Blood. Alongside this the group have shared a seismic new single, with ‘Drop’ carrying a heavyweight grunge-leaning mixture. Out now, the band’s pop appeal is evident, and while the needle is pointed firmly to the red HotWax also deliver some ear-worm melodies. A punchy, ambitious return, ‘Drop’ comes equipped with a tongue-in-cheek video shot by Josh Quinton. Styled in Fall ‘23 Charles Jeffrey, it’s a hilarious UFO-themed video. The film maker comments: “My aim for this video was to create an explosive & exciting journey through the band members’ brains that matches the exhilarating energy of the song, whilst also fusing their own personal style with my love for trashy 70s B movies and 90s kids TV… I wanted to use the symbolism of space travel to represent the band’s momentum and fresh landing into the world whilst adhering to a strong DIY ethos and reaching maximum altitudes of fun.” [via Clash]

Charli XCX has shared a new video for ‘Speed Drive,’ her song for Greta Gerwig’s Barbie movie. Directed by Ramez Silyan, the video stars Charli XCX racing a convertible pink Corvette with Devon Lee Carlson, getting interrupted by a video-call from fellow Barbie contributor Sam Smith, and then dancing as the Corvette does donuts around her. [via Pitchfork]

cumgirl8 have shared a video for their song ‘cursed angel’. The track intriguingly diverges from CG8’s usual choral narratives. It teases with the harmonious whispers reminiscent of a 60s girl group before diving into chaos, resonating in spectral reverberations. The song distinctly embodies the eerie feeling of mental confinement experienced in an altered mental state, successfully encapsulating and portraying this disquieting sensation. “It’s about feeling like you’re slipping out of reality; it’s uncontrollable and sometimes you can’t contain it,” says the band. “If you don’t fight it, the outcome can be positive.“ ‘cursed angel,’ delves even deeper, invoking a frenetic frolic on the edges of madness. Lida Fox, Veronika Vilim, Chase Lombardo, and Avishag Rodrigues do not disappoint in their discordant dance with derangement. In fact, they’ve taken this danse macabre straight to the mountains in the fascinating new video directed by Peter Kaaden. In a provocative blend of reverence and rebellion, the video kicks off with the quartet clad in pristine Catholic school uniforms, poised in a chapel’s solemn embrace. But as the reel unfolds, the sanctity of the scene gives way to a raw, primal transformation. Venturing deep into the mystical mountain’s embrace, the tableau shifts from piety to paganism, as the girls engage in a mud dance that feels like an ancient rite reawakened. This descent into untamed spiritualism is juxtaposed with surreal, trippy animations – lambs, often symbolizing innocence, and alter ego avatars, suggesting deeper, perhaps darker, layers of self. The visual odyssey is a wild ride, daring its viewers to journey between two worlds, from structured religion to uninhibited nature, challenging our perceptions of conformity and wild abandon. [via Post-Punk]

Last month, Jamila Woods announced a new album, Water Made Us, and shared its lead single ‘Tiny Garden.’ Now, the Chicago musician is back with a new song, ‘Boomerang.’ “I co-wrote this song with Nao, GRADES and George Moore on a sweet London day last year,” Woods said in a statement. “It was amazing to work with Nao and meet her longtime collaborators and feel the synergy that they have together. It’s a song about that kind of relationship that keeps popping back up throughout your life, that magnetic attachment you have to someone and the excitement and anxiety that comes with wondering ‘will we or won’t we?” Check out the music video, which was directed by VAM and shot at the Chicago Magic Lounge, below. [via Stereogum]

K-pop girl group aespa have released their new single ‘Better Things’. ‘Better Things’ is aespa’s second fully English single, following July 2022’s ‘Life’s Too Short’. Meanwhile, the accompanying music video follows the girl group as they chase a mystical creature, which leads them to tropical paradise. “I’m sorry that it hurts you / No, I’m sorry I ain’t sorry / ​aespa, big girls making money / ​aespa, you’re our number one fan now / You can only see me at a sold-out show,” the quartet sing on the bridge of ‘Better Things’. [via NME]

Powerhouse indie rock duo Child Seat has just released their latest single, ‘The Punchline’, an exploration on expectations and coming of age.’The Punchline’ has a certain melancholic feel to it, as the band delves into an honest conversation with themselves; the candid lyrics touch on feeling left behind in life, along with the insecurities and frustrations that come with reaching different milestones. The song is raw and painfully open, as it makes the listener question their place in life, and even their own self worth. It’s a very relatable release for those who feel disappointed in their reality, or anyone still trying to find themselves. The blend of 80’s synths and moody 2000’s indie rock is haunting; there’s an underlying feeling of sadness, despite the joyful beat. The intro feels bright, in contrast with the soulful vocals, with an almost jarring, metallic sound when we reach the bridge. As the listener starts paying close attention, ‘The Punchline’ invokes an unsettling atmosphere, like being in the middle of a cheering crowd, but with deep sorrow within. [via Melodic Mag]

CLT DRP have released a new single and video, ‘I See My Body Through You’. It’s a cut from the band’s recently-announced new album, Nothing Clever, Just Feelings. The Brighton trio’s second full-length will arrive on September 8 via Venn Records. Vocalist Annie Dorrett says: “‘I See My Body Through You’ is probably one of the tracks we’re looking forward to putting out the most. The content of the song set against the visuals all came out perfectly. There’s a lot behind this song, different ways to interpret it, but the unsettling feeling and tension in the orchestration and in the video match up to the emotions that created this song in the first place—the emotions of being constantly on show, being objectified, and your own confidence being warped because of other people’s gaze. I think Alice heard the song and understood those feelings immediately, as most women do, and came up with some striking and strange concepts for the video. Working together, videographer Sam Morris captured Alice’s vision which led to this beautifully eerie video.” [via Upset]

Backdropped against the Los Angeles cityscape, the magical realism and cosmic abstractions in REHMA’s ‘HYPNOTIC’ single and music video gives major superhero energy. With REHMA’s fighting companion, Alé Araya by her side, the video oozes powerful femme energy, disrupting traditional superhero narratives and fucking sh*t up, yuh. This is especially true since REHMA & Alé Araya are just as much combat companions as they are genuine collaborators. The Pakistani femme fatale shines in front of the camera with ease and presence. Inspired by a community of powerful femme creatives, ‘HYPNOTIC’ is produced by Alé Araya & Rhea Raj, directed by Elise Schatz, and styled/creative directed by REHMA’s older sisters Rumsha & Rohaina Hassan. The sound pulls from neo-pop, progressive R&B, and electronic influences, garnering over 650K views across platforms. [via Sheesh Media]

Sydney/Gadigal fiery four-piece, DOWNGIRL, has unleashed their new single, ‘Boys,’ alongside the accompanying video. The powerful track comes ahead of their anticipated EP, Manic, which is set for release on September 22. Unleashing an uncompromising punk spirit and an authentically commanding sonic identity, DOWNGIRL possesses an extraordinary capacity to infuse their music with potent social observations. Their inaugural EP, Manic, only solidifies this trait. Comprising eight tracks, including the already unveiled ‘2006’ and the eponymous ‘Manic’, the EP emerges as a visceral product of the band channelling their fervour and navigating their inner struggles. Each song within the collection captures the fierce dynamism and unrelenting punk essence that has been their hallmark ever since the release of their debut single in 2022. “The title, Manic, was lifted from our single of the same name. We chose it as it encapsulates our state of being when the band was in its infancy. This EP is a diary, charting our progress from our beginnings in the bedroom when we were physically separated to now, being in each other’s bloody pockets!” says Lou Harbidge. Front and centre as the flagship track, ‘Boys’ delivers a direct and incisive examination of the persistent legacy of violence propagated by cisgender men. DOWNGIRL’s ingenious way of satirising these destructive norms is seamlessly paired with a music video that wields empowerment. This visual masterpiece accentuates the LGBTQIA+ community, highlighting their vitality and tenacity in the face of repressive norms. It is a triumphant homage to those who assert their authenticity and refuse to be confined by oppressive conventions. [via AAA Backstage]

Slayyyter is counting down the days to the September 22 release of her second album STARFUCKER, a project themed around fame, sex, femme fatales, and celebrity obsession. It is the second of those themes that acts as the basis for ‘Erotic Electronic,’ the latest single to be lifted from the album following ‘Out of Time’ and ‘Miss Belladonna.’ The song is a sleazy electro-pop banger filled with lust and desire. It comes with a video in which Slayyyter catches the eye of many an onlooker as she walks down the street semi-nude, with only two black bars protecting her modesty. Writing about the video on social media, Slayyyter shared: “hope it makes u feel something (h*rny).” [via The FADER]

Madison Beer has released a new single, ‘Spinnin”. It’s the latest cut from her recently-announced next album. Silence Between Songs will be released on September 15, and has already been teased by ‘Home To Another One’. Speaking about the release, Madison says: “This song is a reflection of a time when everything seemed to stand still. I felt like every day was a cycle and I was stuck in such an anxious place, yet I could finally explore the thoughts and emotions in my head. I dreamed of a video that was cinematic and visually striking that brought those emotions to life, and I’m so proud of what we created.” [via Dork]

The post appeared first on She Makes Music.