Miranda’s ethereal, mesmerising vocal floats above it all, while increasingly prominent layers of backing vocals gather towards the track’s conclusion. There’s an underlying tension running through the arrangement and just enough sensuality to complement its situationship subject without overwhelming the longing and frustration beneath. The accompanying visualiser keeps things suitably intimate, showing Miranda lying alone in bed in the dark as she lip syncs the lyrics. It’s simple but incredibly fitting, capturing that late-night headspace where there is nothing to distract you from everything you’re trying not to feel.

Miranda explains that the song followed “a few back to back casual dating situations”, admitting that she would convince herself she was happy keeping things casual so the other person would continue coming back: “Usually, I was lying to myself and them.” That contradiction sits comfortably within the darker sonic world of ‘Favourite Friend’, making this first glimpse of The Bar Is In Hell an intriguing indication of where Miranda is heading next.

The post Miranda Faul steps into the shadows on dark pop single ‘Favourite Friend appeared first on She Makes Music.

Balancing polished pop melodies with darker electronic textures, ‘PATHETIC’ moves at a deliberate pace. Its minimal production leaves space for every element to land with purpose, creating an atmosphere that feels both intimate and unsettling. Rather than relying on dramatic flourishes, CODE ALICE embrace restraint, allowing the emotion at the heart of the song to speak for itself.

What makes ‘PATHETIC’ so compelling is its confidence in doing less. The track never feels rushed or overcrowded, instead choosing to sit with its emotions and let them simmer beneath the surface. Rather than building towards a dramatic climax, ‘PATHETIC’ thrives in its controlled approach. The track moves with a steady confidence, proving that a song doesn’t need to shout to leave an impression.

The post CODE ALICE shares new dark pop single ‘PATHETIC’ appeared first on She Makes Music.

‘Under Your Spell’ is a cheerful love song with a taste of darkness. Lyrics like “Couldn’t you tell, I’ve broken apart, I don’t know why you want my heart” capture the disbelief and fragility that comes when our feelings are unexpectedly reciprocated—when love feels too good to be true. These somber reflections are contrasted by an upbeat bassline, spirited xylophone melodies, and a powerful chorus that urges listeners to release their doubts and dance the pain away.

The post Blake Harley shares new single ‘Under Your Spell’ appeared first on She Makes Music.

‘Moonshadow’ is the title track of a forthcoming album due out in the early summer on Metropolis Records. “It is a raw and introspective song about travelling at night on an underground train and how you can’t escape yourself or your own shadow,” explains Dexy Valentine.

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‘In Your Head’ takes that shadowy introspection further within a song that hits at the heart of feeling both intense love and immense hatred for someone, like some kind of twisted Halloween romance. That inner turmoil erupts in a contrast of desire and disgust, and lust with aloof disinterest as Raven’s mind weaves and wanders between the two extremes. The music pulsates with slow motion intensity, bringing fresh elements alongside Raven’s bewitching voice: a punchy, trap-tinged beat and a Middle-Eastern motif in an industrial setting that recalls Killing Joke’s ‘Pandemonium’ album. In short: just as you think you know what you expect from Raven, she keeps you second guessing.

Raven says, “I wrote ‘In Your Head’ about three years ago, it’s somewhat directed towards someone I’ve known for quite a few years but have only met a few times. It’s about intense feelings of obsession for someone who’s out of reach. I found myself replaying every moment, feeling an overwhelming desire to know them more deeply. My thoughts were consumed by fantasies of what could be, creating a tension between my longing and the reality of our brief interactions. This song reflects my struggle with the powerful emotions that come from wanting someone I can’t have. Psychotic, I know, but we all are at times, especially when we want something bad enough.”

‘In Your Head’ was written by Raven and produced by her regular collaborator, this time with mixing from Nathan Boddy (Mura Masa, James Blake).

Raven channels the song’s sinisterly seductive spirit in its accompanying video. Her intense gaze never lets up throughout the visual, creating a pull that’s both intimately alluring and discomfitingly intimidating. It’s a juxtaposition that’s only heightened as her blood-red razorblade fingernails crawl menacingly in the foreground of the shot.

The post Raven Numan releases mesmerising new single & video ‘In Your Head’ appeared first on She Makes Music.

While ‘Just A Number’ is largely shorn of the industrial and dark-pop embellishments that made her previous singles so compelling, it’s a song that unmasks its intensity in a markedly different way. Mournful cello and unguarded piano prove to be the dominant textures in a song which uses its streamlined space to expose the horror of its emotions. Raven’s voice is as beautifully beguiling as ever, but her words capture the desolation of giving everything of yourself to someone… and the tragedy of receiving almost nothing in return.

Raven says, “‘Just A Number’ is about a really tumultuous relationship along with the feeling of being objectified. It’s been a work in progress for about three years and chronicles a lot of the negative aspects and feelings that were brought up by careless and hurtful things I heard from my partner at the time. The line ‘that bitch will never be me’ is drawn from everything I found out about him and the girls he was seeing while we were together. I settled on the title from feeling that I was just a number to someone that neglected almost everything from the relationship aside from sex. I felt as if I meant nothing more than ‘Just A Number’.”

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Circe explains that ‘Blue Love’ is a sonic retelling of the 21st century relationship epidemic ‘Love Bombing’. If love is a drug, Circe wanted this track ‘to feel like it has completely intoxicated your veins’. As darkly romantic as it is empowering – the track’s production is equally lush in its low end vocal takes, as it is outrageous in its maximalist synths.

‘Blue Love’ plays out like a movie, where listeners journey though enrapturing lyrics and anthemic choruses. Circe speaks about “wanting to sonically create something that commanded the same adrenaline of being love-bombed.”

The track resolves with rapturous anthemic choral crescendo, alongside the jugular vein-cutting lyric: ‘You got what you wanted – let the sun come rot it’. The lines are an empowering statement from Circe who says, “I needed the track to resolve this way lyrically as I wanted to claim power back from Love Bombing/GasLighting stories. That gut dropping moments, when the love-bomber suddenly retracts their hyper focussed attention, freezing out their conquests , and leaving them shrouded in shame. These lyrics say ”no you can’t gaslight or shame us – we see you – you got what you wanted – now go rot!”

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“You can lust for anything,” says FRANKIE. “People, money, power – we’re all longing for something.” Her aptly-titled new single, ‘LUST,’ feels dark and desperate with echo and reverb that drown out the verses in contrast with the punchy chorus.

The post FRANKIE FLOWERS releases dark new single ‘LUST’ appeared first on She Makes Music.

Playfully audacious, the song captures the essence of a wild and untamed spirit. Rife with brisk, upbeat drums, bright and booming bass and punchy, rich riffs, anthemic ‘Pretty In Pink’ embraces living life on the edge.

“The lyrics tell the story of a girl who is unapologetically herself, living life on her own terms and leaving a lasting impression on everyone she encounters. She is a force of nature, a paradox of sweetness and chaos, and the song aims to encapsulate her complexity.” say the twins. “Ultimately, it is a celebration of living boldly and embracing the unpredictable nature of life, all while acknowledging the potential consequences that can come with it.”

The post Track of the Week: ‘Pretty In Pink’ by Bloom Twins appeared first on She Makes Music.

‘Beats Not Bombs’ is an earworm, a cathartic sugar rush dedicated to the relief music can provide during hardship. Seemingly sweet at first glance, the song’s lyrics take a darker turn, zeroing in on feeling “sick and tired” and “the war inside” [their] own mind” after being burdened with the weight and devastation caused by the war in Ukraine. The twins say, “since the war in Ukraine began, writing upbeat tunes felt meaningless. However, we channelled our pain into music, the tool more potent than any weapon. Think of John Lennon’s ‘Imagine’. With our song ‘Beats Not Bombs’, we urge the world to stand with Ukraine. Let’s create beats, not bombs, and build rather than destroy.”

In light of their compelling message, Bloom Twins have furthered their commitment to promote peace by partnering with the renowned charity, War Child. War Child is an international organisation that stands by children affected by conflict, using various interventions including music. Now, in partnership with Bloom Twins, they are unveiling an exclusive T-shirt inspired by the ‘Beats Not Bombs’ track. 100% of the profits of these T-shirts will be donated to War Child, aiding their relentless efforts to safeguard, educate and empower children in conflict regions, including in Ukraine.

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