Leicester-born, London-based Shivani Day releases her new single, ‘Blue Car’ via FAMM. Channeling her thoughts on self-worth and closure, ‘Blue Car’ offers an insight into Shivani’s inner thoughts capturing an amalgamation of feelings. Co-produced by Shivani and 23Sunz (BXKS, Joe James), the dark-yet-ethereal sonics make for a textured backdrop for Shivani’s contrasting vocals. The cinematic ambiance is inspired by the Tron Universe and it’s pulsating ice-blue palette referenced in the Jay Green-directed (Biig Piig, Lava La Rue, Izzi De Rosa) video. Over the past three years, Shivani has governed her creativity with a sound that carries her South Asian heritage, the influences garnered in her life and a refined synergy between instrumentation and her voice. “I began the process of ‘Blue Car’ in 2022, and it was initially a freestyle to express a stream of emotions. Working closely with 23Sunz was great, he pushed me to use my voice as an instrument and carve the final sonics in an abstract way. Creating it in the summer, paired with the darkness of the beat and lyrics resulted in a beautiful contrast. It was important to let the track breathe and allow the production to have its moment too.”

Singer, songwriter and producer Rosie Lowe triumphantly marks her musical return with a new single and accompanying video, ‘Mood To Make Love’, setting the scene for a fresh chapter in her celebrated career. The release not only showcases Lowe’s evolution as an artist but also serves as her first solo endeavor since 2021’s Now, You Know a compelling collection of self-produced demos, and her collaborative album Son with longtime friend and kindred spirit Duval Timothy. The self-produced ‘Mood To Make Love’ unveils a captivating blend of soulful melodies, intricate rhythms and delicate vocal work, all crafted with Lowe’s signature minimalist finesse. Lowe invites listeners on an intimate journey, exploring themes of desire, self-worth and human connection. In her own words; “‘Mood To Make Love’ was written on a warm evening in Spain and we wanted it to sound like our surroundings. It is a moment of self love and an acknowledgement of what I have to offer my partner.” Accompanying the release is a visually sumptuous music video, directed by Lowe’s brother, Louis Hemming-Lowe. Through languid visuals, the video brings the song to life, offering viewers a cinematic experience. From its striking cinematography which plays with angles and perspectives, to its raw, emotive performance shot through with surrealism, the ‘Mood To Make Love’ music video is a testament to the creative synergy between the siblings. Rosie says, “I knew I wanted to keep the team small and work with people I know, trust and love so I decided to collaborate with my big brother, a director, on the music videos. We wanted the visuals to feel much like a dream sequence. We shot it on a very cold January morning on a small rowing boat on a river in Devon, and somehow lucked out with the 1 x sunny day we got in January!”‘ Hemming-Lowe adds, “I wanted to create an abstract, fantasy feel with hand drawn animation elements and dream sequence symbolic connectivity. Themes of nostalgia, looking back, looking forward, time and repetition, the reliving of episodes and memories, beginning and ending, life and death. I wanted the viewer to do the work to figure these out, much like waking up from a dream and trying to decipher the meaning.”

After releasing the single ‘runrunrun’ last year, My Chérie has already doubled her 2023 output this year with February’s ‘Don’t Compare Yourself’ and her new tender sonic exploration of the intricacies of human existence, ‘Darkness & Gold’. An addictive combination of hip hop and alt-pop, ‘Darkness & Gold’ features a boom bap inspired beat alongside some tasteful guitar licks and atmospheric synths with My Chérie’s engaging vocals alternating from warm, inviting dulcet tones to spitting laidback bars to great effect. Speaking on her new single, My Chérie explains “‘Darkness & Gold’ is my candid portrayal and deep dive into my human experience of the internal struggles we all face. In confronting themes of strength, vulnerability, and the pursuit of self-improvement, I want to acknowledge the efforts of trying and the tricky journey of figuring ourselves out.” Meanwhile, the music video shows this journey in fantastical form, with My Chérie transported from the comforts of watching Betty Boop in her living room to an enchanted forest type setting with everything not being as it first appears. “The music video brilliantly captures the essence of our inner dichotomy. It delves into the juxtaposition of embracing our ethereal, confident personas while also confronting the raw vulnerability of our human experiences. The intertwining narratives in the forest setting vividly portray the complexities of our inner selves, from our stories and pain to our dreams and aspirations”, explains My Chérie. [via Pilerats]

Okay Kaya, the Norwegian-American alt-pop artist born Kaya Wilkins, is back with her first new single since 2022’s SAP. This past winter, Wilkins wrote her new single ‘The Groke’ on a small island at a temperature of -25 degrees Celsius (that’s -13 Fahrenheit, Americans). It’s billed as a pop song about our ever-changing ecological landscape. “I was thinking about The Groke as an apt lore of the Nordic countries brutal seasons, and about how climates around the world are getting more temperamental,” Wilkins says. “The chorus end sentence is borrowed from Timothy Morton’s Dark Ecology.” Below, watch director Julia Patey’s video for the track. [via Stereogum]

Daphne Guinness releases her new single ‘Dark Night of The Soul,’ from her eagerly anticipated fourth album, Sleep, out June 21 via Agent Anonyme Recordings. The baroque ‘Dark Night of The Soul,’ featuring strings arranged by Tony Visconti, drips with loss and builds with a cataclysmic tension towards the final chorus, where Daphne’s vocals vault into her upper register like a glimmer of hope. ‘Dark Night of The Soul’ is accompanied by a hypnotic and mesmerising video. Speaking about the single, Daphne says, “That song is speaking to the fact that in the loneliest moments of one’s existence there is hope and there are other people who are going through the same thing. Yes, we’re living in a state of uncivilisation and we’re living on the edge of many catastrophes, but we are human beings! We need to bind ourselves together in these bleak moments. It’s about that feeling of being alone but also recognising that there are other people there. When you’re at the depths of despair it’s a reminder that there is something there. The first line in arcadia ego is a reference to a painting by Nicolas Poussin. The lyric ‘We’re living in intemperate times/In the twilight of our gods’ is a reference to a schism in society. All the established religions are slightly off course. But before the last two millennia of gods, there was another way. And also, the idea of God and religion manufactured into some relatable human form. Captured in a suitably stylish and timeless monochrome, David LaChappelle’s video for ‘Time’ turns the clock back to Berlin in the 1930s. The setting is backstage at a cabaret and tensions are running high, leading to a violent conflict between Daphne’s character and a club boss – played by David himself. But the show must go on. Daphne’s performance is beguiling and magnetic: her star quality enamouring an audience of larger-than-life characters. Yet a little of that earlier schism remains…”

Cross Dog have released a video for their new song ‘Jane Roe’. The video was directed by lead vocalist Tracy A and the video features appearances by Valerie Knox and Emily Bones of The Anti-Queens (who also provide backing vocals). The description for the video contains links to Action Canada for Sexual Health and Rights and Plannet Parenthood. The song is off there upcoming album All Hard Feelings which will be out on June 7 via Stomp Records. Cross Dog released their album Hollow in 2019. Check out the video below. [via Punk News]

La Luz have released a new album, News of the Universe, via Sub Pop. Now they have shared its fourth single, ‘I’m Always in Love With You,’ via a music video. The band is led by guitarist, singer, and songwriter Shana Cleveland. She had this to say about the new single in a press release: “To me this song is the heart of the album. I get emotional every time I hear it. Lyrically it’s about realizing that love is the only thing that matters and that it’s always a choice that I’m able to make. It’s hard to explain how huge that is, but if you get it you get it. In the guitar solo that closes the song I can hear myself blasting through all the fear and stress of the year before, the most difficult time of my life, and moving past all of that propelled by the dedication to live in love. The video for this song is inspired by the Japanese camp horror film House.” [via Under The Radar]

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Irish indie rock band Pillow Queens dive into intoxicating feelings with punchy, cathartic track and official video ‘Heavy Pour’. ‘Heavy Pour’ is a track that lays the foundation for a story of unshakable conviction in the face of doubt and feeling inadequate. Sonically, lead guitarist and vocalist Cathy McGuinness shares, “It feels like a bit of a bizarre journey or a fever dream.” Opening with a 90s grunge vibe, twangy distorted guitars and open strings, it gets progressively heavier before a cathartic release. McGuinness says, “The guitar becomes more palatable in the middle eight, totally contradicting the previous section of discordant chaos. It then falls into a glorious half time with ‘oohs’ to support the instruments, giving a feeling of clarity and resolve before snapping back to the chorus.” Lyrically, lead vocalist, guitarist and bassist Pamela Connelly adds, “A lot of the lines in this song could convey the typical sweetness of a love song, but it has brief moments of outside perspectives that cast doubt over the conviction represented. The song tries to show the “heavy pour” as a compulsion that while having moments of joy, ultimately heightens personal insecurities.” The band also touches on gender and common misconceptions with the line, “I want more, but I’m not man enough.” Vocalist, guitarist and bassist Sarah Corcoran says talk regarding that line has sparked conversations about gender, particularly the tendency to equate masculinity with bravery. “Intrigued by this dynamic, we wanted to delve into and dissect the idea that one’s gender expression is impacted by their perceived level of courage. Spoiler: it’s not. All genders can be courageous and/or scared.” The track’s accompanying video, directed by Kate Dolan, is inspired by old silent films like The Cabinet Of Dr. Caligari, Faust and Nosferatu. The idea for the video came immediately to Dolan upon hearing the track. Dolan says, “The song felt like a haunting and I felt the video needed to be something quite stylistic. I came up with the idea of the music video being a long lost silent film that has never been seen, a haunted piece of art buried in an attic somewhere. Then, as the band performs the cursed film is purged, burning up. The band are always up for having some fun so the shoot was a lot of fun and we played a lot on set.” The spooky video was aptly shot at Glenmaroon House in Dublin. The Tudor-style Edwardian mansion, dating back to the 1850s and once owned by a member of the Guinness family, exuded an eerie charm perfectly suited for the video’s aesthetic.

Babe Club says they were inspired by Mark Ronson and Lykke Li’s song ‘Late Night Feelings’ to make a new dance groove beat. While ‘Late Night Feelings’ is about heartbreak, Babe Club’s new single, ‘Kiss Kiss Bang Bang,’ is about uncovering your deep dark secrets. Here’s what the band had to say about their new song: “We wanted to make a dance song that inspired people to get weird and mischievous. We abandoned the idea for a year, picking it back up while being inspired by how interactive and hype Chappell Roan’s songs get with the audience. Singer Jenna Desmond recalls channeling her inner weird Barbie-the damaged one- for the lines, ‘let’s just have fun, kill the lights now turn it up,’ in hopes people will be sweating out their demons with strangers on the dance floor. It’s murder on the dance floor.” [via Holy City Sinner]

Australian trio Telenova returns with their latest elegant, disco track ‘Power.’ The song comes with an official video directed by frontwoman Angeline Armstong that is brimming with vibrant colour and otherworldly imagination. In a day of big announcements, the band has also shared news of their debut album Time Is A Flower (to be released on August 16 via Fiction) which will be played live across their forthcoming European tour which will see them touch base in London on October 1st at The Outernet’s The Lower Third. The track was co-produced by the band and Styalz Fuego who has also produced tracks for Troye Sivan, Tate McCrae, Odesza, Imagine Dragons. Speaking about the song’s creation Angeline explains “The song is a fable-like story of a flower in love with the sun, but the sun is setting. And the flower is afraid of being left alone in the darkness without the very thing that gives it power and strength. Of course, the flower unaware that the sun inevitably always rises again. The more we kept building out the lyrics the more Josh and I realized its a fairly multi-layered metaphor for love. Inevitably (and beautifully) people will hear different things in the meaning of ‘Power’, it resonates on a romantic-love kind of micro level, but can really extend out to a divine kind of love and existential longing – whatever your idea of ‘God’ or the universe or something ‘bigger’ it’s the cry of a human being out to whatever is out there, to like, not be abandoned basically, not be left to our own devices all on our own. And then we shroud that all in a big fun dancey disco tune – because why not.”

On her brand new single ‘Comic Trip’, Sylvie Kreusch nosedives into a fantasy world where anything is possible. It is a song that buzzes with colors, sensations and Big Emotions – with a stylistic nod to bands like The B-52’s and Stereolab. “On ‘Comic Trip’, I wanted to create a world where everything is possible, where reality and fantasy intertwine.” Kreusch says about her latest song. “The inspiration came from the nostalgia for my childhood, when I could lose myself for hours and hours, reading vintage comic strips in my grandmother’s attic. I was immediately reminded of those Roy Lichtenstein-sounds, which I added in both the arrangements and the lyrics.” With its bright, sparkling arrangements, ‘Comic Trip”’resonates like the pop music version of a retro sixties comic that’s brimming with spectacle, intrigue and suspense. Kreusch turns into a superheroine protagonist who jumps kinetically from panel to panel. “’Comic Trip’ harkens back to childhood, the days when you still looked at the world with wonder. I think we as adults can learn a lot from that.” Kreusch adds. “I am now in my thirties and everything is becoming slightly predictable. I now have a little more control over my life, so it is sometimes shocking when you lose that spontaneity. Being a bit more naive in the world, especially as a creative person, is a very important thing to keep doing. So that’s what I’m looking for now.” ‘Comic Trip’ is a very visual song, so there really had to be a video. The things I wanted to do weren’t that easily executed either. It is about children who completely lose themselves in comic books and look in amazement at a world in which everything is possible. I tried to put that world visually in a video. It turned out really cool, and it required a lot of preparation. It’s very conceptual, even though I don’t normally write like that. You constantly bump into things that are not feasible. There is certainly something of a Western influence in it: comics and Westerns are two worlds that often go well together. There was a lot of shooting in terms of choreography on a treadmill. The world I am in is a kind of desert landscape, in which things travel my way. And the children act as a shadow of me. Sometimes they follow me around and then they disappear again. That was maybe the hardest part: finding children in which gender and age looked fluid. That there is something very playful and young about them, but they are also very mature in how they move, in their way they imitate me a little bit. Part of the video for ‘Comic Trip’ was actually filmed on location, and partly animated. The idea behind it is that you’re not supposed to be able to tell the difference between what’s real and what’s fantasy.”

Kate Nash has shared ‘Space Odyssey 2001’, as the latest single from her forthcoming album, 9 Sad Symphonies. The track sees Kate nash recount a first date with her now-partner and pokes fun at her own movie choice. “It’s the wrong film for a date, but I love the film. I like making jokes in songs. I like that there’s this beautiful love song but it’s also complaining about this critically acclaimed film being too long. I don’t recommend it for a first date,” she explains. “‘Space Odyssey’ is a love song about my partner who I was friends with for many years, but we met up at just the right time in the summer of 2017, both single and very unexpectedly fell in love,” Nash continues. “Romance came back into my life in this effervescent, joyful and healing way. I’d been through so much pain and toxicity. In the video, I arrive at this homestead having been through hell, exhausted and at the point of no return. I am rescued by a half man/half donkey. It’s inspired by Shakespeare and the way his plays use surrealism, fairy tale and classic love stories, but also the genuine complexities of human relationships. I’m taken into this homestead as I’m ready to give up and am healed by sunshine, friendship, food, joy, animals, nature and falling in love with someone you really don’t expect, which transforms me from a broken, bloody mess to a higher level self (in this case, a fairy).” [via Line Of Best Fit]

MOTHICA has shared another new single and video from her upcoming album Kissing Death. Following last month’s first single ‘Doomed,’ the artist unveils a song attached to her name, ‘Curiosity Killed The Moth’ – and as such, she says that it felt like an especially “daunting” one to write. “I thought of the phrase ‘curiosity killed the cat’ on the way to a session with David Burris and Alexandra Veltri, and we twisted it to be about a moth,” MOTHICA explains. “Like a moth to a flame. Icarus flying too close to the sun. “I’ve always wanted to write a song about moths, but of course, it being my namesake that felt like a daunting task. I wanted every song to feel like it was from a soundtrack since I knew I was going to do a music video for every song, and so it turned into this dark cinematic feeling that I really love.” [via Kerrang!]

Calva Louise has revealed the extraordinary cinematic Sci-Fi video for their new song, ‘Under the Skin’, and the news they have also signed to Mascot Records—home to P.O.D., VOLA, Defects, Conquer Divide, Dragged Under, and Oxymorrons,. ‘Under the Skin’ was co-written by Allanic and Pendulum’s Gareth McGrillen and is a mesmerising blend of raging metal riffs, swirling electronica, and Allanic’s extraordinary ability to flit between ethereal vocals and demonic howls. It swoons in and out of a stunning narrative, with melodic twists along the way that are penetrated by an attack of hypnotic aggression. ‘Under The Skin’ follows a complex Sci-Fi narrative and is the introduction of a conceptual storyline about the characters and their counterparts called the Doubles. Talking about the song, Allanic says, “The lyrics deal with the obstacles that arise between them as one is looking for freedom and the other is looking to perpetuate their consciousness, but the expectations are not the same for both sides.” The video is a feast for the eye and was directed and edited with VFX by Jess Allanic. This first single release is accompanied by Calva Louise’s most ambitious music video production, including a Sci-Fi movie-style short film telling a story about parallel dimensions where the characters are looking to perpetuate their consciousness beyond the real world.

Shannon & The Clams release their latest single ‘Big Wheel’ and its accompanying music video. The song will be featured on their upcoming album The Moon Is In The Wrong Place out May 10 via Easy Eye Sound. Kicking off with resounding Moog synthesizer instrumentals and vocals from guitarist Cody Blanchard, ‘Big Wheel’ chronicles the unavoidable passage of time and life’s impermanence. On the track, Shannon & The Clams showcase their remarkable knack for making big, devastating feelings more tangible through upbeat melodies and creating a place for listeners to celebrate life. In August 2022, singer and frontwoman Shannon Shaw’s world was turned inside out: with mere weeks to go until their wedding, the singer’s fiancé, Joe Haener, died in a horrific car accident. It was a devastating loss that hit Shannon & The Clams — who were all incredibly close with Haener — with cataclysmic force. Cue ‘Big Wheel,’ guitarist Cody Blanchard’s response to Joe’s death — a meditation on how time and reality become distorted in the face of sudden loss. The lyrics ruminate on the feeling of helplessness as time marches on after someone dies, like the feeling of being strapped into a ferris wheel seat that you don’t want to be on — as if you have accidentally gotten on the wrong ride and everything has “gone off the track” and you desperately want to pull the stop lever. The song also explores the impotent desire to rewind time and to keep the gap between “now” and “before” as small as possible, like the urge to keep a child at a certain innocent age before the harshness of the world turns them cynical. “See the boy waiting in line, weep for him on the other side.” The accompanying music video, directed by Vanessa Pla, is an eerie exploration of time visually reminiscent of silent era films. [via Concord]

Following last month’s single ‘Maverick’, self-styled brat punk Delilah Bon has unleashed another ferocious single in the form of ‘Finally See Me’. Taking inspiration from her school days, it’s a raw and riotous exploration of Delilah’s teenage school experience, and the mental health struggles she faced, feeling lost and alone as a free-thinker in a system that didn’t understand her. “This song is about craving recognition and validation,” says Delilah. “I receive messages from so many young people who feel just like I did back in school. They tell me they use my music to get through the day, which hits close to home for me. I remember spending lunch breaks hiding in the school toilets, listening to P!nk, just trying to escape the world.” [via Kerrang!]

Cross Dog is a noisy, experimental, bass-driven hardcore punk band from Peterborough, Ontario. Their music is played at ear-splitting volumes, but the band’s socially conscious messaging cuts through the noise loud and clear. Formed in 2013, the intentional omission of a guitarist from the lineup leaves Cross Dog lacking absolutely nothing. Affirming the power in the rule of three, Tracy A (vocals), Mark Rand (bass), and Mikey Reid (drums) explode with a multiplicative force that betrays the finite bounds of their instrumental limitations. Cross Dog’s newest album (and first for Stomp Records), All Hard Feelings (out June 7), sees the band maintain the sonic onslaught they’ve become known for, but with a few tweaks. ‘Hard Feelings,’ the first single to be shared ahead of the LP’s launch, is a pseudo-diss track that stemmed from Tracy feeling blindsided and betrayed. It encapsulates the moment when you are all pure and reactive emotion before you calm down and view your current situation through a healthier, more balanced lens. It’s the perfect “scream-it-in-your-car” song, so you don’t end up screaming it in someone else’s face.

Taylor Swift has released her first Tortured Poets Department music video. The visual is for the album’s opener, ‘Fortnight,’ featuring Post Malone. Watch the new video, written and directed by Swift and co-starring the musicians with Ethan Hawke and Josh Charles, below. [via Pitchfork]

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