She now returns with fire, unveiling her fierce new EP Princeless Princess. The record is written and produced by Delilah Bon herself. The title track is a bold feminist anthem that turns the traditional fairy tale narrative on its head. Challenging submissive, outdated gender roles and mocking the entitlement of toxic masculinity, this is no damsel in distress — this is a battle cry for independence, self-worth, and autonomy in a world still clinging to patriarchal fantasy.

Most recently she’s announced a huge 13-date UK and European tour (see poster below), including her biggest headline show to date at London’s legendary O2 Academy Islington this November. With her raw sound and fearless message, Delilah Bon continues to solidify her place as one of the most essential and unfiltered voices in alternative music today. She’s here to disrupt, to provoke, and to create space for the voices that need it most.

We had a chat with Delilah all about what she’s been up to including her first US tour, the Princeless Princess EP, how she deals with online abuse and more. Read the Q&A below.

Hi Delilah! How are you? I think we last did a Q&A with you when you released ‘I Don’t Listen To You’ back in 2021 and you have been on the up ever since! Which is so awesome to see cause the world needs more artists like you. How has that journey been for you? Any highlights?

“Aw Hey!  Wow yes, ‘I Don’t Listen To You’, that song feels like it was so long ago and yet two seconds ago at the same time. Everything’s been going so fast since then, I’d say a lot of my success has been down to how fast that song blew up ya’know. I gained like 100K followers from that song alone which connected me with so many more feral badass women out there because as you say, people are very much seeking out that unfiltered femme rage right now. The journey since we last spoke has honestly been incredible, the live show has grown and grown, I sold out my album tour, I toured the US and now I’m selling shows out again on my upcoming PRINCELESS PRINCESS European and UK tour. Another huge moment was when I released ‘Dead Men Don’t Rape’ which was the single I released after ‘I Don’t Listen To You’. That song blew up like crazy, it’s still my biggest song to date and it hit 7 million streams on Spotify the other day. I wrote and produced every song of my catalogue so far, so when a song really blows up like that, it’s very validating after being told previously to stay out of the production room and stick to being a singer. I love that I do it all, it’s a real achievement when the music I’m producing sits in a playlist with these multi-award winning producers and it flows without sounding out of place, I’d even go to say my mixes are way more interesting too, I’ve got so many layers in there that most producers nowadays never give the artist time for.”

As mentioned, you recently went on your first US tour which looked like so much fun from your social media. How did it feel to get overseas and connect with your American fans? What was the reaction like? Which cities were you most excited to visit? 

“Oh yeah it was so amazing. I was really nervous to go beforehand. I had a few fans warn me not to visit as people were getting detained at the border. I planned for the worst and was so surprised when it went so smoothly. Every show was packed with so much love and passion from the fans, I felt so welcomed and so accepted there. So many women and LGBTQ+ people after the shows thanked me over and over again. I was signing people’s arms, legs, boobs, bums, haha! So many people got my signature tattooed afterwards! It just all felt like a dream, I had to keep pinching myself. It’s hard to pick a favourite city, we didn’t get that much time to explore, but standout shows were Portland, OR and Washington DC. I can’t wait to tour the South next!”

You’re new EP Princeless Princess is about the de-centering of men and challenging the outdated idea that women need a Prince Charming to give their lives meaning. What sparked the inspiration for this collection of fantasy themed songs? What do you hope fans take away from it? 

“I had so much fun getting lost in the concept of this EP. I wanted to create something with an element of fantasy and escapism, through the lens of the princess without centering around the Prince. As a kid, I loved the movie Shrek. I loved how Princess Fiona didn’t follow the traditional gender roles or family traditions, I also loved how they made the Dragon her sassy friend. That was probably the first time I’d seen a Princess depicted in that way and I loved the movie for it. These old fairytales of Prince’s saving the Princess or kissing her to wake her from a coma (or whatever the hell Snow White was about), are so outdated and I think there’s a correlation between these gender roles in fantasy stories told to little girls and the way incel culture expects women to submit to them today. We have a rise of ‘stay at home wives’ and ‘trad wives’ who are against the intersectional feminist movement and these podcast dudes telling each other that they need women to be submissive, and mother them, basically. My EP pokes fun at all of that and so many people have thanked me for the messages of empowerment throughout.”

‘Cinderella’ is a response to the hate you receive from men online. Other than writing incredible diss tracks like this, how do you deal with stuff like that? And what advice would you give anyone else going through the same thing?

“It was hard at first dealing with so much hate. When ‘Dead Men Don’t Rape’ blew up, I was bombarded with threats. Men would tell me they were gonna shoot me and my fans, warning me to never come to the US or they’d bring their gun into the venue. Over time I just blocked these accounts, I reported one guy for stalking to the Police and they were useless, just asking me what I wanted them to do. Like, I have no idea? Just document that I’m being harassed? Find his IP address? They told me they’d have to contact the police in the US and that it could actually make things worse for me if they’ve got to question him and say the report had come from the UK. I just block these guys, I never respond, it zaps the energy out of me. My advice is never reply, block every single time, don’t even open their messages and take social media breaks and if none of that works, diss their patheticness in a song!”

Finally, what is next for Delilah Bon? What can fans expect from your upcoming Europe and UK tour?

“So for the rest of the year now the tour will take up all of my brain space. I’m currently planning the stage design and making outfits. I want the show to be very Princess themed, which is a massive middle finger to everyone back in the day that used to call me a ‘fake punk’ for wearing dresses and wanting everything to be pink. The colour pink has been demonised so much! When I was in my old band Hands Off Gretel, I remember there was always this rhetoric that I ‘dressed for the male gaze’ whenever I wore cute outfits. I saw women in the scene saying that about me in Facebook comments, men saying I was ‘asking for it’ when I was dealing with sexism after I called it out. I even had a woman who used to work at MTV suggest I cover up more to attract more women at my shows and that showing my waist was ‘a distraction’. That pissed me off. So now I’m gonna wear my cute outfits, shake my ass to the girls, have the pinkest stage and scream my guts up, 100% more punk than these dudes that walk around pissed outta their mind at punk festivals, being misogynistic to the women playing there. I feel like I’ve achieved so much more than anyone back then expected of me, I’ve always had this burning ache to prove everyone wrong about me. I’m doing it!”

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Indie rock royalty Hayley Mary announces Australian tour in support of her debut album, Roman XS out October 25. The tour announcement comes alongside gothic-synth pop single, ‘Eighteen’, and a vampire-themed music video co-starring Bryn Chapman Parish from Heartbreak High and Mac The Knife. On ‘Eighteen’, Hayley finds herself yearning for a past she was once so desperate to escape. She recounts, “I was on a road trip in LA, driving a Mustang, when ‘When You Were Young’ by The Killers came on. Suddenly, I felt nostalgic for my youth. Then I realised—I was living the dream my 18-year-old self had, driving a Mustang through America. It’s ironic to long for a past I wanted to escape.” This sense of haunting nostalgia is symbolised in the accompanying video directed by Sami Swilks, where Hayley is attacked by her vampire boyfriend, Heartbreak High star Bryn Chapman Parish, and becomes trapped as an eighteen-year-old vampire for eternity. [via Good Call Live]

Manhattan four-piece cumgirl8 have shared ‘ahhhh!hhhh! (i don’t wanna go)’, which is taken from their debut album, the 8th cumming. The arrival of ‘ahhhh!hhhh! (i don’t wanna go)’ additionally comes alongside an accompanying music video directed by Leah Hennessey (best known for HBO’s John Early: Now More Than Ever, and the cult webseries Zhe Zhe). Speaking of the video and its concept, Hennessey said: “We shot the video at 93 Canal, this experimental live streaming studio in Chinatown, which is carrying on the tradition of public access/pirate broadcasting downtown. The fictional show ‘Feminist or Feminot’ is hosted by the AI Hologram of The Collective Unconscious Perception of Second Wave Feminist Philosopher Susan Sontag (played by me and actress Roberta Colindrez), who is grilling the band about their particular brand of surrealist sex positive feminism. The conversation seems to splinter hologram Sontag into two, and when she encounters her double in the heart of Dimes Square, she’s forced to confront the erotic consequences of a level narcissism only made manifest with the help of AI.” [via The Line Of Best Fit]

Friedberg share vigorous new single ‘Hardcore Workout Queen’, the title track of their upcoming debut album of the same name. The track comes alongside an absurdly fun, stylish 80s-inspired music video, directed by the Nüesch Sisters, where fitness magazine covers spring to life and their stars break free from their glossy pages -watch here. Friedberg will also be performing their first UK headline show to celebrate their album release on 4th November at The 100 Club in London, buy tickets here. The album’s title track is a thrilling example of the band’s live spark, with it’s driving bass line, dreamy production and Anna’s clear-cut vocals, it’s a track that both evokes festival legends like Wolf Alice or Wet Leg, as well as being classically Friedberg. Written by Annaof Friedberg when she was in“a wake and bake mood”, she says“It’s about being the Champion of the slobs, whilst cheering for the Hardcore Workout Queens, who run past your bedroom window early morning, when you’re just tucking into your second breakfast. It’s kind of you do you and I do me and maybe one day we’ll switch. It’s the perfect song to listen to whether you’ve got a protein shake or a beer in your hand, whether you’ve got a popcorn machine or a rowing machine in your home, whether you’re a wake and baker or a record breaker.” Following up on their previous work for the band for ‘My Best Friend’, the Nüesch Sisters have outdone themselves with the new music video for ‘Hardcore Workout Queen’. This time, the band takes the spotlight on the covers of fitness and health magazines, but with a twist -they’re showing off workout routines that involve doing absolutely nothing. “The idea was that it’s muscle beach without the muscle. It’s a fitness video for lazy people”, explain Kim and Florine Nüesch.“The only problem? There’s one real Hardcore Workout Queen in the bunch, and as she starts to flex her actual workout skills, the other cover stars get a little… jealous. They start breaking free from their magazine prisons, hopping from one cover to another, causing absolute comedic mayhem.”

Hearts and Rockets return with a new music video created by Kalindy Williams herself, for ‘The Promise’, a synth-heavy track originally released last March as a split 7″ single, co-released on It Records, with fellow Aussie speed ‘n roll crooner Cong Josie. Hearts & Rockets’ new synth-heavy single ‘The Promise’ sounds like the indie sleaze offspring of The Cramps and The B-52s. Kalindy’s bratty vocals demand servitude, while Kurt’s stabbing bass punctures the synth’s driving melodies, all set to a disco beat. ‘The Promise’ conjures nostalgic pacts we all made to each other as kids, a reminder of the trust we put in those first and important friendships, igniting a vibrant and nostalgic high-energy rush of steady bouncy rhythms and jittery chunky bass stabs, obsessively topped by dire buzzing and flickering synth drifts, whilst bratty ecstatic vocals tease and taunt with relentless passion. The colorful visuals by Kalindy Williams create a punk Alice in Wonderland tea party to sync with the off-kilter exuberance of the soundtrack. You might at first think you are watching a typical Alice reenactment until you notice the risque leather bondage bra and black lace gloves accessorizing the cute powder pink dress. The rainbow tinsel-strewn walls make a perfect backdrop for Hearts and Rockets as Kurt hops around in a motorcycle jacket playing bass and Kalindy searches through a wide variety of iced saccharine treats. [via WL//WH]

Hot off the back of her headline slot on the BBC Introducing Stage at Reading and Leeds Festival this year, feminist rage queen and Brat punk princess DELILAH BON has dropped her brand new album, Evil, Hate Filled Female. Her second full-length also features newly released focus track and music video for ‘I Am The Best (Just Ask Your Momma)’. On the video, DELILAH BON comments: “This is a song I wrote about my online haters commenting and sharing my videos on social media, their engagement pushing them even more in the algorithm. It’s about how certain men online perceive me, how they despise everything I stand for, lyrically addressing their obsession and pointing out that their Momma’s would probably love what I do. It’s a middle finger to all those that have demonised me online, the soundtrack of my villain era.” [via Original Rock]

Rising to the stratosphere as one of Poland’s brightest stars, LUNA, the 2024 Eurovision representative, has launched her highly anticipated new single, ‘Wild West’. This dynamic electro-pop anthem, crafted in collaboration with British producers Paul Dixon and Josh McClelland, promises a fresh sound and a profound commentary on the trials and triumphs of modern life. Alongside the single, LUNA has also unveiled an impressive music video and announced the release of her sophomore album, scheduled for November 15. ‘Wild West’ delves deeply into the essence of contemporary existence, portraying a world as rugged and unpredictable as the untamed frontier. Written just before LUNA’s Eurovision journey, the track mirrors the struggle to stay true to oneself in a harsh environment where trust is scarce, emotions are concealed, and every advancement demands immense strength. The ‘Wild West’ serves as a powerful metaphor for a realm of endless possibilities, where dreams can be achieved but only through difficult choices and sacrifices. With its driving beats and compelling lyrics, LUNA guides listeners through a landscape where the pursuit of success is both thrilling and fraught with obstacles. [via Press Party]

FKA Twigs has shared details of her third album, EUSEXUA, and shared the captivating lead single – check it out below. The project comes as the long-awaited follow-up to her 2019 album Magdalene, and has been teased by the singer in recent weeks. Now, Twigs has shared full details about the new record and confirmed that it will be released on January 24 via Young. To celebrate the announcement, the singer-songwriter has dropped the title track as the lead single, as well as an accompanying music video directed by Jordan Hemingway. “King sized, I’m vertical sunrised / Like flying, capsized / Free, I see you are Eusexua,” Twigs sings, with ethereal vocals sitting on top of the pulsating, electronic rhythm. “Do you feel alone? / You’re not alone/ And if they ask, you say you feel it / But don’t call it love.” [via NME]

Electro-pop évocateur Viola Odette Harlow, formally known as Glüme, returns with her brand new single, ‘Human’. It is the first official release since her phenomenal sophomore album, Main Character, which was released in February 2023. On ‘Human, Viola creates a sumptuous yet haunting and heartbreaking ballad. Beautifully depicting Viola’s experiences within both her personal life and the entertainment industry, the single is bold and fiercely earnest. It is the perfect way for Viola to begin the new chapter of her continuously creative and diverse career. The accompanying music video was directed by Manny Liotta. Speaking about the ‘Human’ music video, Viola said: “The music video for ‘Human’ was inspired by the films Metropolis and The Red Shoes. Metropolis is the story of a woman turned into a robot to serve the narrative of a larger system. The robot then rebels against its makers and the real Maria still exists after all. In The Red Shoes, the character Victoria Page becomes locked into a role where a pair of red ballet shoes won’t let her stop dancing, and famously dances until her demise. These themes resonated with the last year of my life. I think I’ve also watched Blade Runner a lot and that is evident, too.” [via Mc Gig Music]

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Twenty-two-year-old powerhouse performer Gretel (FKA Gretel Hänlyn) returns with her brand new single ‘Far Out’, co-produced by long-term collaborator Mura Masa and out now via her own imprint Breadcrumb Records, in partnership with AWAL Recordings. Gretel’s aesthetic can be felt in everything she touches. This new era feels more physical and visceral than ever, launching today with cinematic new single ‘Far Out’, it’s yet another example of her exceptional worldbuilding and a huge step up in terms of her range and prowess as a young artist. Directed by Maisy Banks and produced by creative director duo The Reids, the stylishly surreal video pays homage to Bob Fosse’s legendary dance hall scene in ‘Sweet Charity’. Gretel gives a spellbinding choreographed performance – it’s exaggerated yet strangely alluring, and depicts Gretel in the spotlight in a way we haven’t yet seen from the rising talent. Speaking on the single, Gretel explains: “’Far Out’ is a big window into my personality and my favourite bits of the writing process; it’s aloof and came from a kinda sarcastic, rebellious place. There’s elements in the song that I never thought would make the Final Cut, like the loud, constant beeping, but once I started conceptualising the deadpan dancing in the music video, I realised those elements only added more personality. I had an idea a long time ago that I wanted to do a weird dance for a music video but I was waiting for a suitable song to whip out my moves. Alex was actually the one to show me the iconic Bob Fosse club dance scene in his film ‘Sweet Charity’, said it looked like something I’d do, and I was dazzled. The music video pays homage to that scene, and I used styling as a direct nod to Suzanne Charny’s character. This song is the first of many more.”

GRAMMY-nominated, genre-defying dance duo SOFI TUKKER have dropped ‘Spiral’ – the second irresistible banger from their anticipated forthcoming album BREAD to be released on August 23. ‘Spiral’ immediately hooks the listener with its 90’s Euro-dance throwback vibe, guitar hook and seductive vocals. Lyrically, Sophie Hawley-Weld explains, “it’s about coming to terms with the end of a relationship, but it sounds hopeful, dancey and energetic.” Tucker Halpern adds, “I’ve always loved ‘90s, early-2000s dance music and Eurodance kind of genres. We made this song with a nostalgic sound. It’s a club banger that brings you back to 2002 and the video is perfect with Heidi.” The music video for ‘Spiral’ combines nostalgia from 00’s chick flicks and memories from childhood sleepovers. Co-starring iconic model Heidi Klum, directed by Aerin Moreno and produced by Scheme Engine – who were also behind SOFI TUKKER’S previous single ‘Throw Some Ass’ – it follows Sophie and Heidi over the course of one night as they let go of their past relationships, capturing the fun and therapeutic magic of spending a night with your best friend. The song feels both retro and modern, with a timeless aesthetic in both design and cinematography. Heidi Klum comments, “As a huge music fan, I have loved SOFI TUKKER’s infectious energy and sound for quite some time. When they invited me to be part of the ‘Spiral’ music video, I didn’t hesitate for a second as I knew that we would have so much fun and probably be dancing all day. The song is contagious and fun, and I loved spending time with Sophie and Tuck, who are not only talented and full of ideas but also super interesting people. Most importantly, I love that this video is all about leaning on great friendships during hard times.” Sophie adds, “Heidi is one of the most contagiously fun people I’ve ever met. She is a vibe elevator and she’s so good at being excellent at what she does while not taking life too seriously. She made me shine brighter just by being in her presence.”

Tove Lo and SG Lewis have unveiled their new Heat EP in full. The pop queen is an old friend of the UK producer, with the two having met on the dancefloor. Staying in touch as they navigated the industry, Tove Lo and SG Lewis recently decided to go back to basics on a scintillating new EP. Out now, Heat leans on some formative club tropes, ranging from filthy house music through to electro and beyond. Take Millennially-charged ‘Let Me Go OH OH’ with its filthy vocals, with Tove Lo commenting: “We wanted to make something with a similar temperature as Kylie’s ‘Can’t get you out of my head’… sexy, cool and hypnotic.” ‘Busy Girl’ channels raucous 2000s electro-house, with added production from TEED; ‘Desire’ meanwhile it all-out trance, with SG Lewis explaining: “I wanted it to be really emotional, something that could be played at the end of the night. It felt like the perfect way to close off the EP.” [via Clash]

Remi Wolf has released a new single, ‘Motorcycle’. It’s the latest track from her upcoming new album. The follow-up to 2021’s Juno, she will release Big Ideas on July 12, after her UK support tour with Olivia Rodrigo. “Lyrically the song dives into this internal dichotomy I experience a lot in my life,” Remi explains. “One side of me is always wanting to slow down and settle down and be in love and be normal and have babies and shit, while the other, very forceful, part of me needs to be restlessly independent and stubborn and free. The song is essentially a fantasy about me living in a reality where both sides of me can exist simultaneously… Secret lives of the wives of Harley Davidson type…” [via Dork]

Aotearoa’s mega-heavy psych-fuzz troubadours Earth Tongue are clearly in the zone right now, launching their second studio album Great Haunting in the midst of monstrous tour of Europe and the UK, currently supporting Ty Segall. Written during the pandemic lockdown era while holed up bingeing on spooky movies in their Tāmaki Makaurau hausu, the now Berlin-based duo of Gussie Larkin (Mermaidens) and Ezra Simons’ (Soft Bait, Troy Kingi) self-described “horrifying rock opera” is a doom-soaked nine track overload — conjuring vast sonics from just guitar, drums and yowls. Maintaining a dark tradition of Aotearoa occult metal tracing back to Timberjack’s iconic 1971 version of Black Widow’s ‘Come To The Sabbat’, Earth Tongue’s new narratives feel akin to flipping through the yellowed pages of ancient Charlton horror comic anthologies, nine tales dripping with unpitying dread. A feeling only reinforced by their video for lead single ‘Nightmare’, an electrifying montage of poltergeists in the kitchen, bloody body on the bed, rural ritualism — directed by Levi Strauss Cranston, shot by Ezra Simons on 16mm Kodak motion picture film, and made with support from NZ On Air. “Being in a relationship brings an extra element of trust to the ban. There is a kind of telepathy that goes on between us when we are playing live, especially with tricky starts and stops. When we record we sing together, on opposite sides of the room. It helps us lock in and makes it a way more fun to record – especially when we got to scream “DEAAAAAATH!!!” to each other during the recording of the song ‘Nightmare’,” says Gussie. [via Under The Radar]

Last month, Hinds announced Viva Hinds and released the extremely groovy tune ‘Boom Boom Back’ featuring Beck, which followed February’s ‘Coffee’. Now, the Spanish rock duo is unveiling ‘En Forma.’ “My boyfriend broke up with me and I turned 30 years old in the same week. This was the first song I could write after months of feeling absolutely devastated, immobile and pathetic,” Carlotta Cosials said. “I just wanted to get better but I just couldn’t, I couldn’t cope with this eternal race of being happier and better and cleaner and healthier.” Ana Perrote added, “When I talk with my girlfriends, in the same afternoon we can chat about wars, philosophy, love and clothes. I tried to reflect on this song the chaos and huge spectrum of what it’s like to be a young woman these days. How overwhelming it can be to juggle the news, politics, our bodies, relationships and laundry.” ‘En Forma’ is their first-ever Spanish language song. Although it’s inspired by difficult circumstances, it’s a blast. Below, watch the ‘En Forma’ video, directed by Cosials and Perrote themselves. [via Stereogum]

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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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Scene Queen has shared a spectacularly graphic new single, ‘Finger’. Taken from her upcoming debut album Hot Singles In Your Area – which is due out in ‘late 2024’ – the latest effort from our favourite bimbocore star is, according to Scene Queen herself, “about my queer awakening”. She continues: “I also wanted to flip the script on songs written to sexualise women in a way that was for a man’s pleasure. I wrote this song about two women experiencing things equally. So the song is vulgar like any sexual song but with a woman driving the narrative about her own body and taking control of her own pleasure with step-by-step instructions.” Even more brilliantly, Scene Queen says that the accompanying music video “features a dance made to be accessible to anyone both sitting or standing. I wanted to feature that in the video because, as someone who struggles with POTS, I was at one point completely unable to dance like I do standing in the video. So I wanted something to make everyone feel included because sexuality and pleasure is something everyone can and should be able to relate to.” [via Kerrang!]

Yaya Bey shares the latest offering from her forthcoming album Ten Fold with the new single ‘sir princess bad bitch’. Serving as one of the album’s centerpiece statements, the song and its accompanying video embody the complexities of Yaya’s identity as a genderqueer person, with her stating resolutely that she is “no other thing but the thing I am.”

Call Me Spinster has released ‘Burn the Boxes,’ the latest single from their debut album Potholes, out April 12 via Strolling Bones Records. With its jovial bluesy groove and a New Orleans-inspired trumpet to boot, the new song is an empowering anthem about breaking free from societal expectations and re-defining life on your own terms. ‘Burn the Boxes’ arrives with a playful music video, showing the group reusing pieces of cardboard as the colorful backdrop for this impactful metaphor about change. Call Me Spinster on the new single: “‘Burn the Boxes’ is all about tearing down and re-defining terms – of relationships, of our contract with societal institutions. It felt fitting to rip apart and reuse cardboard boxes to make something colorful, haphazard and beautiful – a reminder that change takes the creative, destructive and playful mind of a child.” On the music video: “Amelia’s husband Dan got the idea for this music video at 7 in the morning, groggily watching our six and two and a half-year-olds crafting away, hot-gluing cardboard dioramas and a dollhouse they are perpetually retro-fitting with found objects. By 10am we were deep in a cardboard frenzy, the assembly line led by six year-old Amos and our art director friend Chad. We sent our kid off to first grade the next morning exhausted and still covered in spray paint, but proud of his first (and likely not last) production design credit.” [via Broadway World]

Bambie Thug has shared the music video for their upcoming Irish Eurovision entry ‘Doomsday Blue’. The Cork-born artist leans into black magic in the new video, which follows the story of a witch who inadvertently conjures up a strange creature after casting a spell to make a new boyfriend. It’s a brilliantly vivid visual that is no doubt set to wind up a small but vocal minority in Ireland who weren’t too happy and dared to accuse Bambie of promoting Satanism after they triumphed earlier this year with the alt-rock track. “I think it was quite iconic to have created such uproar. I’m pissing off the right type of people – people who suppress love, compassion, understanding, people who are slaves to their programming, transphobes, the far-right and a few priests so it seems,” Bambie explains. [via Rolling Stone UK]

Ariana Grande has released her second single, ‘We Can’t Be Friends (Wait For Your Love)’, from her new album Eternal Sunshine — and the music video is heart-wrenching. The singer recently released her chart-topping album,and her latest music video to come from the album pays tribute to the movie which inspired it: Eternal Sunshine of the Spotless Mind. The video shows Grande taking on the character Peaches, who finds herself at the “Brighter Days Inc” doctor’s office to undergo a procedure to erase her painful memories of an ex. The video harks back to the film, which sees Jim Carrey’s Joel and Kate Winslet’s Clementine having similar treatment. Behind the short film is ‘Yes, And?’ director Christian Breslaur, while Dahmer actor Evan Peters appears alongside the singer as her ex. Her character moves through her memories of her ex, triggered by a box of his things. The video sees Peters’ character winning the singer’s character a bear at the arcade, recalling an argument they had in the middle of the night, making snow angels together, holding hands in bed, and sharing a very 16 Candles moment with a kiss over a birthday cake; all of which get deleted from her memory. Then, in perhaps the most heartbreaking scene of the music video, Peaches wakes up crying and clutching at her necklace. She bargains with the medical team to “keep this one please”, and they re-attribute Peters giving her the jewellery to a collar for her dog. In the end, her character seems relieved that her painful memories are no longer there hugging the doctors before her box of things is incinerated. Later, Grande’s character seems to have moved on with someone else, as did Peters’, when they walk past with no recollection of each other. Grande said in an Apple Music interview with Zane Lowe that the song is open to interpretation, but sums up “the album in a video”. “I think it can be applied to any kind of relationship, really, especially when you see the video. I think you’ll understand the importance of it,” she said. [via Pink News]

Allison Ponthier has shared new single ‘Skin’. Out now, it was seemingly prompted by a memorable concert, with Allison Ponthier left enraptured by her favourite artists. There’s a twist, however – she felt genuinely obsessed with the artist. Hailing from Dallas, Allison’s neat melodies and unerringly accurate pen have brought critical plaudits, with songs like ‘Cowboy’ going viral. ‘Skin’ takes her a step further – musically, it recalls everyone from boygenius to Japanese Breakfast, while also lacing in subtle hints of Americana. She comments: “I had this complicated feeling where I absolutely loved the show but also felt overwhelmed with jealousy — I wanted it to be me so badly. I left the venue with the lyrics to the verse in my head and assumed it would become a ballad, but when I went into the writing session I got the idea to sing ‘I wanna wear your skin’ at the chorus. I love how it sounds horror-movie-esque but describes a very real feeling I was afraid to express out loud.” The video was shot by Julian Buchan, taking stylistic cues from 90s thrillers. The clip co-stars Ponthier alongside Independent Spirit Award-nominated actor Suzanna Son. “I’m really attracted to writing songs that explore my weaknesses, and the challenge of ‘Skin’ was to create something that gave a voice to my inner saboteur,” says Ponthier. “I wanted to talk about feeling like you’re not good enough — which is something that every single person goes through — but to do it in a way that’s got some levity and feels upbeat and fun.” [via Clash]

Delilah Bon has just unveiled a triumphant new single called ‘Maverick’. The song’s release coincided with International Women’s Day (March 8), and as such Delilah explains that it’s about “self-worth and reclaiming your confidence, reminding yourself that you belong in the rooms you don’t always feel welcomed in. It’s about looking yourself in the mirror and believing in your power without needing the approval of others.” Excitingly, a press release also confirms that ‘Maverick’ is a “sneak peek into her upcoming second album, set to be released later this year” – so keep your eyes peeled for more on that… [via Kerrang!]

A rising star in the punk underground, Kate Clover recently announced her new record, The Apocalypse Dream, due out April 5. Following the release of ‘Damage Control’, which came alongside her LP announcement last month, now sees a video-only release of her raucous second single, ‘Like A Domino’. The video, directed and edited by Clover, spoofs a late-night talk show performance, and sees her and a cadre of backup dancers broadcast their new dance, “The Domino” to the world. Speaking on the origins of ‘Like A Domino’, Clover said, “I overheard a conversation where a woman told her friend she “played him like a domino”. Intrigued by this sentiment I wrote the chorus with the phrase. I like the innuendo it exudes. With this theme in mind, I enlisted my choreographer friend Sandi Denton of Rated Z dancers to create an original dance to accompany the song, titled “The Domino”. It’s a nod to the twist, the mashed potato and the Loco-motion. I wanted this song to be a garage rock banger that gets people up on their feet and prod some fun.”

Los Angeles indie-poppers the Marías made a name for themselves with their first two EPs, 2017’s Superclean Vol. I and 2018’s Superclean Vol. II, and they were already a big deal when they released their 2021 debut album Cinema. Since then, the Marías have truly blown up, collaborating with big stars like Bad Bunny and Young Miko. Early this year they collaborated with LA producer Eyedress on the singles ‘Separate Ways’ and ‘A Room Up In The Sky.’ Now, the Marías have announced their sophomore album Submarine, and they’ve dropped a pretty great lead single. Submarine comes out this spring, but we don’t have a tracklist or any details yet. What we have is ‘Run Your Mouth,’ a sleek and funky new track. Bandmates María Zardoya and Josh Conway wrote the song, and Conway produced it. It’s a warm and genuinely catchy fuck-you song. The glammed-out video, directed by regular collaborator, looks like a ’90s Gap commercial. Here’s what Zardoya says about the track: “This was one of the first songs Josh and I wrote on Submarine. I was conflict avoidant at the time, and whenever someone wanted to talk about something serious, I’d run and hide. I learned that was a protective mechanism and I didn’t have the capacity to open up. There’s no other song on the album like it, hope you dance to this one.” [via Stereogum]

Toronto-born, Los Angeles-based alternative sensation Abby Sage treats her audience to a captivating video for ‘Three Floors, Three Doors,’ the focus track from her debut album The Rot. The project released March 1st via Nettwerk. The second track of the album, ‘Three Floors, Three Doors’ juxtaposes a dreamy sonic profile with Sage’s uncomfortable realization that she can never return to the innocence she had as a child. The song tears down and rebuilds everything she thought she knew, admitting and welcoming the uncomfortable fact that change is inevitable. Like the rest of the album, ‘Three Floors, Three Doors’ was made in collaboration with London-based production team MyRiot aka Roy Kerr and Tim Bran (who worked on Sage’s 2022 The Florist EP). “Three Floors, Three Doors’, to me, is the realization that nothing can be erased. Everything I’ve been taught and have experienced will always live inside of me no matter how badly I want to pick and choose what I keep and what I let go,” Sage explains. “It describes a spiraling moment I had one evening where I felt like I was looking at my body from three floors above. From above, I could clearly map everything out and think rationally but when I returned to my body nothing had changed, I still felt everything I had before.” The accompanying music video serves as a captivating voyage of self-revelation, offering viewers a glimpse into Abby’s mind as she struggles with, and eventually embraces the concept of interconnectedness. With figures draped in both black and white, the video presents a compelling visual dichotomy – symbolizing the complexities of memory and perception, echoing Abby’s internal conflict as she navigates the contours of her own psyche. “‘Three Floors, Three Doors’ deals with acceptance of self and the vertigo of change in your journey,” Sage continues. “Masks have been this visual throughline in the project so far, and I think they worked especially well here to capture the feeling of struggle and the different masks you wear along your journey. I also wanted to demonstrate that struggle through the choreography. The scene with the two doors specifically, shows the push and pull of navigating through two sets of choices to find the right path forward.” [via Broadway World]

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